Quotes About Reader

I write things in my house, and hopefully there's a reader out there who enjoys it and has an experience with it, but that's very different than a performer on stage, where there's an immediate dance with the audience. It's incredibly powerful.

The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone.

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 believe that a work of art, like metaphors in language, can ask the most serious, difficult questions in a way which really makes the readers answer for themselves; that the work of art far more than an essay or a tract involves the reader, challenges him directly and brings him into the argument.

There is a contract between the reader and the writer. The readers give me their hard-earned cash, and I have to entertain them.

There's something about the idea of writing, and thinking about writing as a form of prayer - the way as a writer you call out into the world and throw your words into the world. You're not praying to a god, but you're almost conjuring a reader to arrive. That's what books do: they're an invitation to readers.

Point-of-view is a matter that readers rarely pay attention to, yet it's one of the most important story decisions an author makes.

As a lifelong romance reader, it's always satisfying to get to talk to other romance readers!

I put ordinary people in jeopardy and give them the opportunity to be heroic. Then there's a great payoff for the reader at the end, when the heroic character gets what he or she deserves. Readers will come back again and again if they feel satisfied at the end.

With comics, you've got to develop some kind of shorthand. You can't make every drawing look like a detailed etching. The average reader actually doesn't want all that detail; it interferes with the flow of the reading process.

If the book is a mystery to its author as she's writing, inevitably it's going to be a mystery to the reader as he or she reads it.

I have one main reader, Miriam Gomez, my wife. She reads everything I write - I have not finished writing something and she is already reading it.

At the end of the day, it's about the reader's attachment to and belief in the magical elements that make or break magical realism.

In a graphic novel, you have to allow for a certain amount of freedom on the reader's part to experience it how they choose.

When I'm writing, I don't really have much other guide than, 'As a reader, how would I respond to this?'

The same authorities who insist upon beginnings, middles, and ends, declare that Great Literature (by which they mean the stories they have been taught to admire) is about love and death, while mere popular fiction like this is about sex and violence. One reader's sex, alas, is another's love; and one's violence, another's death.

We have books whose papers are matted of plants from which spring curious alkaloids, so that the reader, in turning their pages, is taken unaware by bizarre fantasies and chimeric dreams.

Even when the characters are supposed to be accustomed to the wonder, I try to weave an air of awe and impressiveness corresponding to what the reader should feel. A casual style ruins any serious fantasy.

I'm a fairly ordinary person - a lifelong reader, a former software engineer, and former math teacher. I come from a wonderful family of teachers, musicians, librarians, and engineers. I think I surprised them as well as my friends and coworkers when I took up writing as a hobby and let it take over my life!

I surrendered to a world of my imagination, reenacting all those wonderful tales my father would read aloud to me. I became a very active reader, especially history and Shakespeare.

I mean, the wonderful thing about writing a book is that you're getting a finished product at the end of the day. You're communicating directly with the reader.

Your protagonist is your reader's portal into the story. The more observant he or she can be, the more vivid will be the world you're creating. They don't have to be super-educated, they just have to be mentally active. Keep them looking, thinking, wondering, remembering.

The Seventies were an interesting time to be a reader or writer of fantasy. Tolkien was the great master. Lin Carter was resurrecting wonders of British and American fantasy from the early twentieth century in his Ballantine Adult Fantasy Series.

When I was a kid, back in the '40s, I was a voracious comic book reader. And at that time, there was a lot of patriotism in the comics. They were called things like 'All-American Comics' or 'Star-Spangled Comics' or things like that. I decided to do a logo that was a parody of those comics, with 'American' as the first word.