Quotes About Reader

the reader is hurried out of himself by the force of the poet's imagination, and turns in one place to a hearer, in another to a spectator.

L. 547. The terms made use of in this line, and in 481, may appear somewhat coarse, as addressed by one Goddess to another: but I assure the English reader that in this passage

To state the facts, however, and then to bury them in a mass of other information is to say to the reader with a certain infectious calm: yes, mass murder took place, but it's not that important—it should weigh very little in our final judgments; it should affect very little what we do in the world.

There was, in my view, an unwritten contract with the reader that the writer must honour. No single element of an imagined world or any of its characters should be allowed to dissolve on an authorial whim. The invented had to be as solid and as self-consistent as the actual. This was a contract founded on mutual trust.

How would that constitute an ending? What service or hope or satisfaction could a reader draw from such an account? Who would want to believe that, except in the service of the bleakest realism? I couldn't do it to them. I'm too old, too frightened, too much in love with the shred of the life I have remaining. I no longer possess the lavage of my pessimism. When I am dead, and the Marshall's are dead, we will exist as my inventions.

I write from life. But the reader, you know, imports the symbols, the associations. I can't keep them out. That's how poetry works.

How would that constitute an ending? What serve or hope or satisfaction could a reader draw from such an account? Who would want to believe that, except in the service of the bleakest realism? I couldn't do it to them. I'm too old, too frightened, too much in love with the shred of the life I have remaining. I no longer possess the leverage of my pessimism. When I am dead, and the Marshalls are dead, we will exist as my inventions.

The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish.

You have very short travel blogs, and I think there's a split among travel writers: the service-oriented writers will say, 'Well, the reader wants to read about his trip, not yours.' Whereas I say, the reader just wants to read a good story and to maybe learn something.

In a novel, I think you have a contract with the reader to make the character representative - of a moment in history, a social class... for instance, I wanted to make the boy in 'A Boy's Own Story' more like other gay men of my generation in their youth and not like me.

Anyone who tries to write a memoir needs to keep in mind that what's interesting to you isn't necessarily interesting to a reader.

The best headlines are those that appeal to the reader's self-interest, that is, headlines based on reader benefits. They offer readers something they want - and get from you.

There's nothing like having a sympathetic reader who asks the right questions, who understands what you're trying to achieve and only wants to make it better.

A great reader seldom recognizes his solitude.

A lot of readers and a lot of editors had a story problem with Oracle, in that she made for such an easy, convenient story accelerator, that we missed the sense of having characters have to struggle to discover, to solve mysteries. Famously, it helped make Batman less of a detective and more of a monster hunter.

It's a responsibility of the writer to get the reader out of the story somehow.

I've a very simple yet powerful present for you the one reading this. - I LOVE YOU.

Each of us is a story, waiting for a devoted reader who will take us off the shelf and embrace all our plot twists.

For if there were a list of cosmic things that unite us, reader and writer, visible as it scrolled up into the distance, like the introduction to some epic science-fiction film, then shining brightly on that list would be the fact that we exist in a financial universe that is subject to massive gravitational pulls from states. States tug at us. States bend us. And, tirelessly, states seek to determine our orbits.

Indeed, all books, each and every book ever written, could be said to be said to be offered to the reader as a form of self-help. Textbooks, those whores, as particularly explicit in acknowledging this, and it is with a textbook that you, at this moment, after several years in the city, are walking down the street.

o leitor ou ouvinte são como o apanhador (catcher) num jogo de beisebol.

Expository books try to convey knowledge—knowledge about experiences that the reader has had or could have. Imaginative ones try to communicate an experience itself—one that the reader can have or share only by reading

Applying the distinction between real knowledge and mere opinion to himself as well as to the author. Thus the reader must do more than make judgments of agreement or disagreement. He must give reasons for them.

The writer isn't trying not to be caught, although it sometimes seems so. Successful communication occurs in any case where what the writer wanted to have received finds its way into the reader's possession. The writer's skill and the reader's skill converge upon a common end.