Quotes About Reader

Pro captu lectoris) habent sua fata libelli. (According to the capabilities of the reader) books have their own destinies. —Walter Benjamin, "Unpacking My Library

According to the capabilities of the reader, books have their own destinies.

For success, the author must make the reader care about the destiny of the principals, and sustain this anxiety, or suspense, for about 100,000 words.

A reader who seeks after truth might become a hypochondriac out of dread.

I'm very aware how many distractions the reader has in life today, how many good reasons there are to put the book down.

A discursive student is almost certain to fall into bad company. Ten minutes with a French novel or a German rationalist have sent a reader away with a fever for life.

I thought it would be great to do superheroes that have the same kind of life problems that any reader - that anybody could have.

But for now, let's assume that you're properly impressed with words' significance, and therefore stand ready to move on to a related but somewhat more involved aspect of the subject . . . the application of language to the manipulation of reader feelings. Is that important? I won't kid you. It's the foundation stone on which you as a writer stand or fall.

There is no point to writing fiction without risks. I would rather anger a reader than bore her. I would rather speak my truth and be laughed at or ignored than stick to what is easy and familiar.

What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote.

Okuyucunun "Genç k?z Emerson'u seviyor" diye bir sonuca varmas? için her ÅŸey aç?kça ortada. EÄŸer okuyucu Lucy'nin yerinde olsayd?, durum bu kadar aç?k olmayacakt?. Hayat? yaÅŸad?ktan sonra yazmak kolayd?r, ama bizzat yaÅŸamak sersemleticidir ve arzular?m?z? gözden gizleyecek "sinir bozukluÄŸu" veya herhangi bir baÅŸka bahaneyi sevinçle kar??lar?z.

O que eu gostava de poder encher os livros de silêncio, e tender cada vez mais para o silêncio, e que as palavras estivessem carregadas de silêncio de maneira a que o leitor as pudesse encher como quisesse.

O que eu gostava de poder encher os livros de silêncio, e tender cada vez mais de silêncio, e que as palavras estivessem carregadas de silêncio de maneira a que o leitor as pudesse encher como quisesse.

Everyone in the book's ecology, starting with the author and including the publisher, the distributor, the booksellers, the libraries, and ending up with the reader, should benefit from a healthy book trade.

You don't write for success. That takes part of your attention away from the writing. If you're really doing it, that's all you're doing: writing. There's an unwritten compact between you and the reader.

And thus it happens that the reader, the closer he comes to the novel's end, the more he wishes he were back in the summer with which it begins, and finally, instead of following the hero onto the cliffs of suicide, joyfully turns back to that summer, content to stay there forever.

Toni Morrison has a habit, perhaps traceable to the pernicious influence of William Faulkner, of plunging into the narrative before the reader has a clue to what is going on.

It wasn't until I was an adult reader that I began to fathom the influence of fairy tales on writers I was in love with over the years, from Louisa May Alcott to Bernard Malamud to John Cheever to Anne Frank to Joy Williams.

'The Crimson Petal and the White' is a book, and it will win or lose the trust of each reader when they begin reading its pages. That relationship will go on.

I see the role of the writer as creating a room with big windows and leaving the reader to imagine. It's a meeting on the page.

I do not write for the reader to come, but for him who is here, short of reading the text on my shoulder.

The one thing a lifetime in the newspaper business teaches you is pace - you spend all your time trying to make sure that the reader's going to finish what you're writing.

What I loved about romances was the character, and I think I still bring that to my novels. What romance taught me was that the 'who' will always matter more than the 'what.' It's fun to come up with plots, but I want to make sure the reader cares about who it's happening to.

The theater of the mind is impossible to compete with, and I like the idea that with a few suggestions, each reader forms in his or her own mind what a character or a place looks like.