Quotes About Reader

The best way to mess with the head of your reader is to strategize the delivery of bad news.

I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms, so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it.

Reading is essential to human life. When the last reader dies, humanity will be at an end.

This leads us to note further, that in any case the reader of an English Bible is already involved in interpretation. For translation is in itself a (necessary) form of interpretation. Your Bible, whatever translation you use, which is your beginning point, is in fact the end result of much scholarly work. Translators are regularly called upon to make choices regarding meanings, and their choices are going to affect how you understand.

the American reader cannot bear a surprise. He knows that this is the greatest country on earth…and evidence to the contrary is not admissible. That means no inconvenient facts, no new information. If you really want the reader's attention, you must flatter him. Make his prejudices your own. Tell him things he already knows. He will love your soundness.

Dear Unknown Reader, do not close this Book, but read a little before you sleep. There is Wisdom here. Your Unknown Friend.' I

A reader's own imagination is a far more powerful form of CGI than anything any movie can provide because it's unique. In your own imagination, you can enter all sorts of worlds, and they are unique to you because no other reader will interpret a book the same way.

Character development is what I value most as a reader of fiction. If an author can manage to create the sort of characters who feel fully real, who I find myself worrying about while I'm walking through the grocery store aisles a week later, that to me is as close to perfection as it gets.

The best critics do not worry about what the author might think. That would be like a detective worrying about what a suspect might think. Instead, they treat the reader as an intelligent friend, and describe the book as honestly, and as entertainingly, as possible.

The challenge is, in terms of a canon like 'X-Men,' it's more like 'Harry Potter' and Hogwarts, or 'Game of Thrones.' It needs time and space to evolve and to bring the reader or viewer in and give them a result that's worth the investment of that time.

General reader feedback is usually pretty worthless. 99% of people give feedback that is irrelevant, stupid, or just flat out wrong. But that 1% of people who give good feedback are invaluable.

The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.

For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.

I can't write about nice, easy topics because that won't change the world. And I do want to change the world - one reader at a time.

As a writer I'm essentially just trying to impersonate a first-time reader, who picks up the story and has to decide, at every point, whether to keep going.

On a daily basis there are some huge ones that are, sure, from time to time, but it is helping the reader sort through all this sort of gray stuff out there.

We waste a lot of time and a lot of talent trying to write for the common reader, whom we will never meet. Instead we should be writing for our ideal reader.

The question isn't whether I have time to read or not (time that nobody will ever give me, by the way), but whether I'll allow myself the pleasure of being a reader.

Charm is from the Latin carmen: to sing. By "charm," I mean sing well enough to hold the reader in thrall. Whatever people like about you in the world will manifest itself on the page. What drives them crazy will keep you humble. You'll need both sides of yourself—the beautiful and the beastly—to hold a reader's attention.

Now try writing some pages to serve as later notes. Because you're not yet sure of voice or anything else, you're free from the need to squash in all manner of background information, explaining what year it is, etc. That stuff will just get you back in your head and drive you nuts. You're free to write as if all that stuff is in the reader's head already. It will be, by the time you get to this part of the book. You

The editor self thinks only of saving the reader time and shaping a powerful emotional experience.

sentimentality is only emotion you haven't proven to the reader—emotion without vivid evidence.

It's the disparities in your childhood, your life between ass-whippings, that throws past pain into stark relief for a reader. Without those places of hope, the beatings become too repetitive—maybe they'd make a dramatic read for a while, but single-note tales seldom bear rereading.

You're making an experience for a reader, a show that conjures your past—inside and out—with enough lucidity that a reader gets way more than just the brief flash of titillation. You owe a long journey, and most of all, you owe all the truth you can wheedle out of yourself.