Quotes About Readers

Addison writes with the ease of a gentleman. His readers fancy that a wise and accomplished companion is talking to them; so thathe insinuates his sentiments and taste into their minds by an imperceptible influence. Johnson writes like a teacher. He dictates to his readers as if from an academical chair. They attend with awe and admiration; and his precepts are impressed upon them by his commanding eloquence. Addison's style, like a light wine, pleases everybody from the first. Johnson's, like a liquor of more body, seems too strong at first, but, by degrees, is highly relished.

I made a decision to write for my readers, not to try to find more readers for my writing.

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.

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 think most serious and omnivorous readers are alike- intense in their dedication to the word, quiet-minded, but relieved and eagerly talkative when they meet other readers and kindred spirits.

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.

I think I write for reluctant readers. Of course I want everyone to enjoy my books, but if the kids in the back row who normally don't pick up a book are engaged with what I'm writing, along with the kids who are big readers anyway, then I really feel like I've done my job.

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.

Historically different groups find different things in each comics, as with *X-Men*. Gay readers find parallels to living a closeted lifestyle or choosing to come out and be openly gay. Black readers find a relevance to their lives growing up in America as a black guy. Picked-on brainy kids find a metaphor for being an outsider. It's a simple enough, and direct enough metaphor that it has different shades for different people. And so each reader to some degree gets out of it what they bring to it. That's one of the things I think that makes *X-Men* such a strong property.

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 myself discovered many authors through school reading lists and through school anthologies. The positives are: young readers can find the world opening up to them through books they study. The negatives may include bad experiences kids have - if they don't like the book or the teacher, or the way the book is taught.

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.

Readers have no doubt noticed how seldom builders live in houses of their own construction. You will find a town or village expanding in all directions with their masterpieces of modernity in the way of houses and bungalows; but the builder himself you will usually find living nearer the heart of things, snugly and comfortably housed in some more substantial, if less convenient, building of less recent date.

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

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.

The world would be a very sad place if readers could only love one story.

Crassly put: When I write, I am trying not to bore myself and my readers.

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'd always loved to read - and come from a family of readers - but I never thought about writing as a career.

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.

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.

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.

If he can give his readers no reason why they should read his book, except that the events happened to him, it is not a valid book.

I come to writing the same way I come to teaching, which is that my goal is always to create life-long readers.

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.

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 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.

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.

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.

A democracy survives when its citizens have access to trustworthy and impartial sources of information, when it can discern lies from truth. Take this away and a democracy dies. The fusion of news and entertainment, the rise of a class of celebrity journalists on television who define reporting by their access to the famous and the powerful, the retreat by many readers into the ideological ghettos of the Internet and the ruthless drive by corporations to destroy the traditional news business are leaving us deaf, dumb and blind.

Effective readers, even at their earliest levels, read in five to seven word phrases rather than word by word.

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.

January 8 has been a lucky day for me. I have started all my books on that day, and all of them have been well received by the readers. I write eight to ten hours a day until I have a first draft, then I can relax a little. I am very disciplined. I write in silence and solitude. I light a candle to call inspiration and the muses, and I surround myself with pictures of the people I love, dead and alive.

That the Op-Ed page is very important in readers' and the nation's perception of the Times, the perception of its editorial positions, and of its implicit editorial positions as expressed by the publisher's choice of people who are given the freedom to write opinion columns.

The man who doesn't read good books has no advantage over the man who can't read them. It is said that leaders are readers. However if they read trashy magazines for the majority of their time and they never run with the information that they glean from resourceful books, then they may as well have not taken any time to read at all. It is easier to stay out than get out.

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

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.

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.

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.

Each time I have the urge in me to make a statement or send a message or to issue a manifesto, I don't bother to write a novel. I write an article and publish it in a popular newspaper, or I make a television appearance. 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.

I tell beginning readers to read a lot and write a lot. If you want to write a book, find a subject that's really worth the time and effort you'll put in.

The great authors were great readers, and one way to understand them is to read the books they read.

Thomas Hauser respects boxing and boxers. He gives readers insight into what happens in and out of the ring. Everything he writes is fair-minded and reality-based with a human touch.

I try to write about complex issues--young people in an adult world-- full of irony and contradiction in a narrative style that relies heavily on suspense with a texture rich in emotion and imagery. I take a great deal of satisfaction in using popular forms-- the adventure, the mystery, the thriller-- so as to hold my reader with the sheer pleasure of a good story. At the same time I try to resolve my books with an ambiguity that compels engagement. In short, I want my readers to feel, to think, sometimes to laugh. But most of all I want them to enjoy a good read.

You must often make erasures if you mean to write what is worthy of being read a second time; and don't labor for the admiration of the crowd, but be content with a few choice readers.

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.