Quotes About Reader

The best writing is not about the writer, the best writing is absolutely not about the writer, it's about us, it's about the reader.

The pleasure a reader gets is often equal to the pleasure a writer is given.

A savage review is much more entertaining for the reader than an admiring one; the little misanthrope in each of us relishes the rubbishing of someone else.

I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.

The thing is, emotion - if it's visibly felt by the writer - will go through all the processes it takes to publish a story and still hit the reader right in the gut. But you have to really mean it.

But that private world, once it's dramatised, doesn't live again until it finds a reader.

I'm a huge classics fan. I love Ernest Hemingway and J.D. Salinger. I'm that guy who rereads a book before I read newer stuff, which is probably not all that progressive, and it's not really going to make me a better reader. I'm like, 'Oh, my God, you should read To Kill a Mockingbird.'

Once in a while, when I first started to write pieces, I would try to write to a reader other than myself. I always failed. I would freeze up.

Early on, a story's meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it - and so things have to be ramped up.

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.

I grew up reading not-serious literature, like comic books and pulp novels, so my instinct is to amuse the reader and entertain.

I'm writing for my ideal reader, for somebody who's willing to take the time, who's willing to get lost in a new world, who's willing to do their part. But then I have to do my part and give them a sound and a voice that they believe in enough to keep going.

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

I think of novels as houses. You live in them over the course of a long period, both as a reader and as a writer.

It's a fantastic privilege to spend three or four hundred pages with a reader. You have time to go into certain questions that are painful or difficult or complicated. That's one thing that appeals to me very much about the novel form.

There isn't any distinction between a reader and a writer - reading is so much a part of it.

Libraries have had a long history of dealing with authoritarian organizations demanding reader records - who's read what - and this has led to people being rounded up and killed.

I like to be happy when I'm writing. If not, then how will the reader manage?

I don't have a disregard for my reader in humor pieces.

One of the most important elements of my identity is my identity as a reader. I love to read - really, if I'm honest with myself, it's practically the only activity that I truly love to do.

I'm not a writer. I like being a reader.

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.