Quotes About Author

My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.

Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.

I'm a writer because I love reading. I love the conversation between a reader and a writer, and that it all takes place in a book-sort of a neutral ground. A writer puts down the words, and a reader interprets the words, and every reader will read a book differently. I love that.

Novels are a kind of experiment in selfhood, for the reader as well as for the author.

We don't experience our lives as plots. If I asked you to tell me what your last week was like, you're not really gonna give me plot. You're gonna give me sort of linked narrative. And I wanted to see how do we bring that into fiction without losing the reader.

I don't know if anything I write will endure, but I do try to write it as a narrative that will not only challenge but also entice the reader into the lives of children.

You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.

I'm a big, big reader of pretty much everything that Chuck Colson has written. And I consulted with him when I was making some decisions about running for the Senate in the first place.

Any writer who gives a reader a pleasurable experience is doing every other writer a favor because it will make the reader want to read other books. I am all for it.

For me, writing essays is very much about processing ideas and offering them up to the reader so that they are fully cooked.

When you write a novel, you never have to be in the service of the reader. My only concern with my books is that the world that's created be as logical and whole as possible.

I'm not a great reader of historical fiction; it's not my favourite genre.

I was really the first-line editor of the 'House of Night' series. I didn't write that much of the story, and I didn't know what was happening until my mom finished the book and sent it to me because I wanted to read it with fresh eyes as a general reader would.

A novel can enlarge the empathy and imagination of both its author and its reader, and my experience, that sense of enlargement is most intense when I'm transported beyond the narrow limits of my daily life.

The day a character becomes predictable is the day a writer should think about moving on - because the reader certainly will.

Such is the endless dilemma of dialect. Not every reader will ever agree with the way that I handle it, no matter how hard I work to keep everything readable. But again it's that balance I have to maintain between keeping it easy and keeping it real, and I know that I'll never please everyone.

I think of myself as the eyes and ears and voice of the reader.

I've always liked an easygoing, colloquial style. I like the kind of reviewer who is essentially a fellow reader, an enthusiast, a fan.

I know many books which have bored their readers, but I know of none which has done real evil.

Normally, I have a lot of alpha readers on my books. These are people that, once I finish a novel, I let them look at it and give me a reader response.

All of my books now come from readers' ideas.

Readers have actually changed the way I've done things, changed the course of my career even, about four or five times. Just from reader feedback.

I am, really, a great writer; my only difficulty is in finding great readers.

There is a neurologist, a woman over at Harvard who wanted me to come talk to them, and in France I have a lot of readers in the sciences. I can't tell you why.