Try not to become disappointed if someone doesn't like a story you've written. Stick up for your ideas, but listen to what other people say, too. They might have good advice.
Margaret MahyRead
Of course there are big differences in length and character and vocabulary, but each level has its particular pleasures when it comes to the words one can use and the way one uses them.
Interpretation
This quote highlights the unique joys and pleasures found in different types of writing, regardless of their complexity or style.
Margaret Mahy suggests that while various forms of writing differ in length, character, and vocabulary, each has its own distinct pleasures. This could imply that writers can find satisfaction in the diverse ways they can express themselves and that the richness of language provides unique experiences at every level of writing, from simple to complex.
In practice
During a writing workshop, one might use this quote to encourage participants to explore various writing styles.
Try not to become disappointed if someone doesn't like a story you've written. Stick up for your ideas, but listen to what other people say, too. They might have good advice.
Being a librarian certainly helped me with my writing because it made me even more of a reader, and I was always an enthusiastic reader. Writing and reading seem to me to be different aspects of a single imaginative act.
By the time ordinary life asserted itself once more, I would feel I had already lived for a while in some other lifetime, that I had even taken over someone else's life.
When you are reading, someone has done a lot of work on your behalf, someone has had ideas and has then written and corrected and improved them so that they can be shared.
Perhaps every time anyone is praised it means that someone else somewhere is going to be ignored
It can certainly happen that characters in more sophisticated stories can 'take over' as they develop and change the author's original ideas. Well, it certainly happens to me at times.
Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at Antony and Cleopatra; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare.
We can be reluctant to recognize how much of our culture was literary, particularly now that so many of the institutional purveyors of literature happily have joined in proclaiming its death. A substantial number of Americans who believe they worship God actually worship three major literary characters: the Yahweh of the J Writer (earliest author of Genesis, Exodus, Numbers), the Jesus of the Gospel of Mark, and Allah of the Koran.
I’ve always believed that as an author, I do 50% of the work of storytelling, and the reader does the other 50%. There’s no way I can control the story you tell yourself from my book. Your own experiences, preferences, prejudices, mood at the moment, current events in your life, needs and wants influence how you read my every word.
Comerado, this is no book,Who touches this, touches a man,(Is it night? Are we here alone?)It is I you hold, and who holds you,I spring from the pages into your arms-decease calls me forth.
People apparently only read mystery stories of any length. With mysteries, the longer the better, and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore, and people need to get used to that.
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