Quotes About Readers

My Kindle readers have been incredibly faithful fans.

Sometimes people ask if my books have morals or lessons for readers, and I shudder at that thought. I always say that I have more questions than answers.

I think readers' imaginations are far more powerful than anything you can put on a page and, therefore, can conjure up graphic images for themselves, which I think you just have to nudge them towards.

Don't hire anyone - no matter what they offer - who promises you they'll sell 'X' copies of your book. Every book is different. The best any marketing company or PR firm can do for your book is make potential readers aware of it.

Considerations of plot do a great deal of heavy lifting when it comes to long-form narrative - readers will overlook the most ham-fisted prose if only a writer can make them long to know what happens next.

Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.

I think publishers need to be the ones that publish the books and control that process: finding writers, helping them with their work, finding readers. I think writers need that.

I feel that there is not an endlessly expandable universe of fiction readers.

It's a nonsense because, as we all know, there are brilliant 15-year-old readers and hopeless 50-year-old readers. All that categorisation is a matter of bookshop shelves rather than literary categories, I think.

All the marketing and advertising sells the book as what it is and hopes that the book will be displayed so that your readers can find it.

Don't send out a newsletter just to send out a newsletter. One newsletter a year that is really interesting is more beneficial than 12 that are boring. If you write two or three boring newsletters in a row, your readers will start to think you write boring books.

There's not much about me that readers don't know because I am equal parts open and boring. If there is one thing readers do know about me, it's that I am very un-domestic.

For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).

In fiction, a reaction shot is a brief portrayal of how your character reacts to something that someone else has done. In contrast to more direct character building, your guy doesn't initiate the sequence; he completes it. Exactly how he completes it can tell readers a lot about him.

Higher ebook prices don't benefit me, booksellers or readers, and that means something is really wrong.

Nonfiction means that our stories are as true and accurate as possible. Readers expect - demand - diligence.

I loved 'Lobo' in the '90s, but I think that character is hard to connect with, especially for new readers.

I feel that form determines how readers read a book and how they judge it.

You should never ask, 'What would the readers like now?' Instead, you should ask, 'What would I like if I was a reader?' And then you must trust your own mind.

Each piece of content you create should lead your readers further down the path to purchase. Typically, sales and leads won't happen until a prospect has had multiple points of contact with you, so don't expect sales after a single blog post.

The connection that readers have to 'Rookie' has only meant more and more to me as I get older.

You write alone, but you write hoping that there will be readers who will connect with what you write, and it's so wonderful and amazing - I can't even tell you - when that actually happens.

In its fifty-first year of publication, 'The Paris Review' continues to search for new ways to bring together writers and readers.

Fashion for a long time was very elitist and difficult to get access to. The access I can now provide to my readers live from fashion shows with my iPhone was never, ever possible before.