Quotes About Reader

I have spent my entire career trying to please the reader; I'm not a master, I'm the servant.

I'm a reader and a storyteller, and God chose literature and story and poetry as the languages of my spiritual text. To me, the Bible is a manifesto, a guide, a love letter, a story.

Entering a library, I am always stuck by the way in which a certain vision of the world is imposed upon the reader through its categories and its order.

This morning I looked at the books on my shelves and thought that they have no knowledge of my existence. They come to life because I open them and turn their pages, and yet they don't know that I am their reader.

Each reader is but one chapter in the life of a book, and unless he passes his knowledge on to others, it is as if he condemned the book to be buried alive.

The existence of the text is a silent existence, silent until the moment in which a reader reads it. Only when the able eye makes contact with the markings on the tablet does the text come to active life. All writing depends on the generosity of the reader.

Desde siempre, el poder del lector ha suscitado toda clase de temores (...)temor al lector individual que puede, a partir de un texto, redefinir el universo y rebelarse contra sus injusticias.

we can learn from its splendid ambition that what was one man's experience can become, through the alchemy of words, the experience of all, and how that experience, distilled once again into words, can serve each singular reader for some secret, singular purpose.

In the same way, the reader of a book who happens to be out of tune with the author's prevailing mood will be bored to death by the things that were written with the greatest enthusiasm. Or else, like the far-away correspondent, he may seize on something which for you was not essential, to make it of the core and kernel of the book.

There had been a long article about the resurgence of stoicism in a newspaper he had picked up in the coffee bar—some of it, he recalled, underlined in red ink by an unknown reader. That happened to many of the newspapers and magazines there—somebody was furtively, and selectively, underlining certain things in red.

Whom then to love? Whom to have faith in? Who can there be who won't betray? Who'll judge a deed or disputation Obligingly by what we say? Who'll not bestrew our path with slander? Who'll cosset us with care and candour? Oh, ineffectual phantom seeker You waste your energy in vain: Love your own self, be your own man, My worthy, venerable reader! A worthwhile object: surely who Could be more lovable than you?

That said, nothing builds reader involvement more surely than a character whose moral struggle pervades the tale. When readers hope, beg, and plead with you to let a character turn toward the light, you have readers where you want them. A character who is good is good; a character

That said, nothing builds reader involvement more surely than a character whose moral struggle pervades the tale. When readers hope, beg, and plead with you to let a character turn toward the light, you have readers where you want them. A character who is good is good; a character whom we want to be good is even better. Not

Vico's terminology follows the principle of his oration Study Methods: to balance the moderns against the ancients. The reader is asked to have Joyce's ''two thinks at a time'' (FW 583.7), to move between the modern and Vico's meaning. Vico does not simply replace modern meanings with his own original ones. He repeatedly faces the reader with both.

Allusion is lovely, and experience with other forms of writing brings the ability to use that device pervasively. This in turn sets high expectations for the reader- in that you are expecting him to pick up on it- and this is a way of respecting your readers. And when you respect your readers, they will come to respect you.

One of the elements of writing that is most delightful to the engaged reader is the element of surprise. And one of the ways to surprise the reader is to set up an expectation that you then veer away from it at the last moment. A stitch in time saves the penny earned. Or something like that.

Sensory experience should not be draped on top of the story as sort of a last-minute decoration. Done right, it is woven into the fabric of the story, and as this happens, the reader is woven in, right alongside the description. In giving advice to writers, E. L. Doctorow once said that good writing should communicate more than the mere fact that it is raining. The reader should feel rained on. A

Thus, to orient means to point somebody in the right direction. In story, that somebody is the reader.

And so it goes with words and language. They're tools. All your writing life, you work with them . . . using them to tie your reader to your story.

Content is anything that adds value to the reader's life.

A]fter all, the position of a reader in a book is very like that occupied by angels in the world, when angels still had any credibility. Yours is, like theirs, a hovering, gravely attentive presence, observing everything, from whom nothing is concealed, for angels are very bright mirrors. Hearts and minds are as open as the landscape to their view, as to yours; like them you are in the fabled world invisible.

I have great faith in the intelligence of the American viewer and reader to put two and two together and come up with four.

the joy of someone who had been a reader all her life, whose world had been immeasurably enlarged by the words of others.

Such humble talents as God had given me I will endeavour to put to their greatest use; if I am able to amuse, I will try to benefit too; and when I fell it my duty to speak unpalatable truth, with the help of God, I will speak it, through it be to the prejudice of my name and to the detriment of my reader's immediate pleasure as well as my own.