Quotes About Reader

Don't believe that the book is losing sight of you, Reader. The you that was shifted to the Other Reader can, at any sentence, be addressed to you again. You are always a possible you. Who would dare to sentence you to the loss of the you, a catastrophe as terrible as the loss of the I. For a second-person discourse to become a novel, at least two you's are required, distinct and concomitant, which stand out from the crowd of he's, she's and they's.

This sense of concreteness that you perceived at the very first line bears in it also the sense of loss, the vertigo of dissolution, and you realize that you perceived this, too, alert Reader that you are, from the first page, when though pleased with the precision of this writing, you sensed that, to tell the truth, everything was slip through your fingers…

Dall'introduzione sul ruolo sociale di lettrice per passione disinteressata. È un ruolo sociale cui credo, e che è il presupposto del mio lavoro, non solo di questo libro. Né mi dimentico neanche per un minuto (dato che vivo di diritti d'autore) che il lettore è acquirente, che il libro è un oggetto che si vende sul mercato. Chi crede di poter prescindere dall'economicità dell'esistenza e da tutto ciò che essa comporta, non ha mai avuto il mio rispetto.

There was a time when the reader of an unexciting newspaper would remark, 'How dull is the world today' Nowadays he says, 'What a dull newspaper'

I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.

I won't call 'Cabin' an anti-home invasion story, because that's not exactly true, but the home-invasion subgenre is one I generally don't gravitate toward as a reader or film viewer.

The evil within the fantasy genre tends to be threatening to the heroes within the story, but not to the reader - or not to the viewer, in the case of cinema - and that's why I think it's more palatable and something that is more easily embraced for a lot of people.

Truth is often a multiplicity of perspectives, and sometimes the more viewpoints and versions of events there are, the closer the reader gets to an overarching truth.

As a reader, I notice political views regardless of whether or not the book is fiction. What annoys me is when said views do nothing to advance the narrative.

The reader who likes my stories, I think they would see the violence on the surface, but I think they would also see a deeper violence - the one that's not as showy or as immediately arresting, but kind of the more unsolvable violence that lurks underneath.

I think it's very easy to disgust the reader with violence on the page - that's incredibly easy - but it's far harder to make a reader care about a character.

What makes a story is how well it manages to connect with the reader, the visceral effect it has.

As a reader, I appreciate a world that feels unsettled and also visceral, inhabitable, so that's a quality I try and bring to my own work. In this way, dislocation and precision make total sense to me as a unit.

Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.

In writing the history of a life I believe absolutely that the reader cannot understand the character and deeds of the subject unless he is given a basic understanding of that person's sexual loves and hates and conflicts. It is the only way the reader can make sense out of innumerable apparently senseless actions.

An intense response to a work will have its roots in the capacities and experiences already present in the personality and mind of the reader.

The reader brings to the work personality traits, memories of past events, present needs and preoccupations, a particular mood of the moment and a particular physical condition. These and many other elements in a never-to-be-duplicated combination determine his response to the text.

Mi è sempre parso, nei pochi romanzi che ho letto di quando in quando, che esigano parecchio dai lettori quegli autori che iniziano i loro racconti furiosamente, nel bel mezzo delle cose, invece che entrandovi, indietreggiando o di sbieco, con dolcezza.

Good writing tends to present evidence rather than judgments. When the evidence is well presented, the reader's judgments will agree with those implicit in the writing. But nothing is more disastrous to the communication between writer and reader than a series of implicit judgments with which the reader cannot agree or which he finds to be simply silly or for which he is given no evidence he can respect.

As thoroughly as mankind has killed God, the reader has despatched the author.

The real tight interface is between the book and the reader-the world of the book is plugged right into your brain, never mind the [virtual reality] bodysuit.

Animal personalities have always intrigued me, the desire to find out more about them made a reader out of me.

If I think of a reader while I am writing, the only reader who really matters for me is my wife. It's most important to me that she likes what I write.

It is almost impossible to win back a reader's loyalty once it's gone.