Quotes About Reader

There is also the memory of the hut in the mind of the traveler-- and in the mind of the reader reading this description. Wabi-sabi, in its purest, most idealised form, is precisely about these delicate traces, this faint evidence, at the border of nothingness.

allowing the cynical reader to proceed contentedly through the story alongside the sentimentalist.

The thing to do is to go on, in the same suave tone, from uttering a series of banalities to expressing a new and dangerous thought, without any break. If you succeed in this, the business is done. The reader will not forget - the new words will plague and torment him until he has accepted them.

I've always been interested in gadgets and technology and I've always been a reader.

The more imagination the reader has ... the more he will do for himself. He will, at a mere hint from the author, flood wretched material with suggestion and never guess that he is himself chiefly making what he enjoys.

If you find that the reader of popular romances--however uneducated a reader, however bad the romances--goes back to his old favourites again and again, then you have pretty good evidence that they are to him a sort of poetry.

Genre is a useful thing when organizing texts in a bookshop but immaterial to the particular exchange between writer and reader.

Reader was by far the most popular feed reader out there, and its user base had been in a steep decline for two years before Google decided to shut it down.

The demise of Google Reader, if logical, is a reminder of how far we've come from the cuddly old 'I'm Feeling Lucky' Google days, in which there was a foreseeably-astonishing delight in the way Google's evolving design tricks anticipated what users would like.

I think the danger with using the term 'trilogy' is that it sets up particular expectations in the reader's mind.

Just as I know the usual rules of law enforcement, I also know the exceptions and invoke those frequently. I don't feel a need to bog the reader down with an explanation of why the procedures are realistic, as long as I know that there is, in fact, an explanation.

Already, though, I hope to have convinced you, the reader, that history is not just one damn fact after another, as a cynic put it. There really are broad patterns to history, and the search for their explanation is as productive as it is fascinating.

After all, reading is arguably a far more creative and imaginative process than writing; when the reader creates emotion in their head, or the colors of the sky during the setting sun, or the smell of a warm summer's breeze on their face, they should reserve as much praise for themselves as they do for the writer—perhaps more.

The four opposing forces in any novel are atmosphere, plot, character and pace. But they don't have to be in equilibrium. You can have a book without any plot or pace at all, but it has to make up for it in character and a bit of atmosphere—like The Old Man and the Sea. Most thrillers are plot and pace and nothing else, such as Where Eagles Dare. But it doesn't matter; each to a reader's own—

You must do the thinking for the reader of your resume.

The] reader is not primarily interested in plot. He is interested in what happens because he is interested in the character it happens to. No incident has any place in the story unless it has an emotional impact on the character--and on the reader. Newbery Acceptance Speech

But the operation of writing implies that of reading as its dialectical correlative and these two connected acts necessitate two distinct agents. It is the joint effort of author and reader, which brings upon the scene that concrete and imaginary object which is the work of the mind. There is no art except for and by others.

This is one reason why it remains anarchic even at its most canonised. The modern world is Time's fool. Art is master of itself. But, you may say, who has long hours for a book these days? The answer must be whoever wants to read one. A reader must pick up a book, then the reader must pick up the beat. At that moment the clock is stopped. Now I am getting his beat into my brain (the rhythm is the main thing in writing).

Those who read this will not fail to laugh at my gallantries, and remark, that after very promising preliminaries, my most forward adventures concluded by a kiss of the hand: yet be not mistaken, reader, in your estimate of my enjoyments; I have, perhaps, tasted more real pleasure in my amours, which concluded by a kiss of the hand, than you will ever have in yours, which, at least, begin there.

I'm a little hesitant to make my characters sentimental or to risk having the work labeled sentimental. It's something that I resist as a reader, and I don't resist it in life. I'm not an unmoved person by any stretch, but I think I don't want, I guess, to indulge those kinds of things sometimes in fiction. I can't tell you why exactly.

I think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.

Well, it's a humor strip, so my first responsibility has always been to entertain the reader... But if, in addition, I can help move readers to thought and judgment about issues that concern me, so much the better.

Even in private e-mail groups, it is journalists who seem outraged, anguished and disheartened at what has been described as the 'prostitution' of news; the reader response is always lukewarm.

If you don't write with the reader in mind, you are not a writer, period.