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.

The funny thing is, nationalism only could have come about in Europe after the invention of printing. You could have this thing that was a book in a vernacular language, and you could imagine there were other readers of this book who you couldn't see, but they were a theoretical union of readers who all use the same language. That is kind of a prerequisite for a national fantasy. You need that thing, and it's a strange thing.

People will ask me, "How do you approach writing books for young readers differently than for adults?" My answer is always: I don't change anything about the story itself. I'm going to tell kids the way things really were. What I don't do - and this is the only thing I do differently in writing for kids - is that I don't revel in the gory details. I allow readers to fill in the details as necessary. But I don’t force kids to have to digest something they’re not mature enough or ready for yet. If they are, they can fill in the details even better than I could, just with their imaginations.

I like to hear from my readers, and I like to feel like I'm part of a bigger community of readers and writers.

The future of publishing is about having connections to readers and the knowledge of what those readers want.

I am of the generation of writers who can get instant feedback from readers within hours of publication. The fan forum is extraordinary - readers from all over the world coming together to discuss, argue and debate scenes and characters from a novel. They add a layer to the story that I cannot write and yes, I will participate in that conversation and answer questions. After all, they are the people I'm writing for and their enthusiasm and questions really pushes me to raise the bar.

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.

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’m imagining that paper books will evolve to become something akin to candles - we have them in our homes and cherish their light, but don’t light our homes with them. Readers of Lincoln’s era would likely be surprised at how well-lit our homes are, and I think it’s likely that we will be surprised at how well-read future book readers will be.

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.

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.

Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

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.

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

What the readers want is a good story, and what the writers always want to luck into, it's a good story.

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.

One thing you really have to watch as a writer is getting on a soapbox or pulpit about anything. You don't want to alienate readers.

If no one speaks out for [young readers], if they don’t speak out for themselves, all they’ll get for required reading will be the most bland books available. Instead of finding the information they need at the library, instead of finding novels that illuminate life, they will find only those materials to which nobody could possibly object... In this age of censorship I mourn the loss of books that will never be written, I mourn the voices that will be silenced — writers’ voices, teachers’ voices, students’ voices — and all because of fear.

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

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.

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

A story should be like a river, flowing and never stopping, your readers passengers on a boat, whirling downstream through constantly refreshing and changing scemery.

... I bid farewell to my readers in the hope that they have formed their own opinion as to the meaning of the word "combination".

Mary Jo Putney is a gifted writer with an intuitive understanding of what makes romances work. I loved Silk and Shadows, couldn't put it down, and don't think readers will, either.

I really believe that readers are smart and sophisticated enough to realize that the author is not the narrator of his novels.

I'm a strong believer in telling stories through a limited but very tight third person point of view. I have used other techniques during my career, like the first person or the omniscient view point, but I actually hate the omniscient viewpoint. None of us have an omniscient viewpoint; we are alone in the universe. We hear what we can hear... we are very limited. If a plane crashes behind you I would see it but you wouldn't. That's the way we perceive the world and I want to put my readers in the head of my characters.

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.

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.

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 know that some readers think (The High King) should have ended differently. I cried for three days afterwards.

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.

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.

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.

I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.

The best advice that an accomplished writer could give a beginning writer is probably, "Find your slide and then grease it." Almost every writer that wants a rewarding career, in terms of money and status and number of readers, finally finds a certain genre or certain style that he or she sticks with until reaching a critical mass of readership. And I've violated this from the get-go.

Few faults of style, whether real or imaginary, excite the malignity of a more numerous class of readers, than the use of hard words.

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 myself, as I'm writing, don't know who did it. The readers and I are on the same ground. When I start to write a story, I don't know the conclusion at all and I don't know what's going to happen next. If there is a murder case as the first thing, I don't know who the killer is. I write the book because I would like to find out. If I know who the killer is, there's no purpose to writing the story.

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

I have a passion for teaching kids to become readers, to become comfortable with a book, not daunted. Books shouldn't be daunting, they should be funny, exciting and wonderful; and learning to be a reader gives a terrific advantage.

It’s not in the book or in the writer that readers discern the truth of what they read; they see it in themselves, if the light of truth has penetrated their minds.

The writer has to make pleasure for the reader - which, I think, is done by taking one's character's seriously and taking one's readers seriously -don't condescend or try to be tricky. Be a friend to your reader - I'd say that's a pretty good first step.

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.

No other serial publications carry a number on them that is of any weight to their readership. The number is there to serve a function, but it has no intrinsic value in and of itself. It's comfort food and nostalgia at best. On this, we follow what you and your fellow readers do more than what you say. We hear complaints about renumbering every time we do it, but every time we do it it results in higher sales, which is the whole ballgame - so if it were your time and your effort, what would you do?

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.