Quotes on Reader

High school teachers who want to get reluctant readers turned around need to give the students some say in the reading list. Make it collaborative: The students will feel ownership, and everyone will dig in.

The book, as it stands, seems to me to be one of the most frightful muddles I have ever read, with scarcely a sound proposition in it beginning with page 45 [Hayek provided historical background up to page 45; after that came his theoretical model], and yet it remains a book of some interest, which is likely to leave its mark on the mind of the reader. It is an extraordinary example of how, starting with a mistake, a remorseless logician can end up in bedlam.

History is my passion. So I write what I love to read. I find that if I combine history with a strong, sensual romance, it is like a one-two punch. The reader doesn't want the history without the romance, and of course the heavier the history, the more it has to be leavened with a sensual, all-consuming love story.

A comic will always be more 'personal' than a DVD or CD, both of which require electronic 'players' to decode their content. With comics, the reader is the player so the engagement with the material is always more fundamental and dynamic. Reading comics is a much less passive activity than consuming CDs and DVDs.

Nobody knows what will work until they try it. Some of comics' biggest success stories in recent years have explored subjects that no one was writing about at the time - stories no one had any reason to think would succeed. My advice? Write what you want to read. You'll have more fun doing it - and if all else fails, you'll always have at least one loyal reader.

Reading furnishes the mind only with materials of knowledge; it is thinking that makes what we read ours.

Don't dumb down; always write for your top five percent of readers.

Nothing is more satisfying than to write a good sentence. It is no fun to write lumpishly, dully, in prose the reader must plod through like wet sand. But it is a pleasure to achieve, if one can, a clear running prose that is simple yet full of surprises. This does not just happen. It requires skill, hard work, a good ear, and continued practice.

The object we call a book is not the real book, but its potential, like a musical score or seed. It exists fully only in the act of being read; and its real home is inside the head of the reader, where the symphony resounds, the seed germinates. A book is a heart that only beats in the chest of another.

Sequencing - the careful striptease by which you reveal information to the reader - matters in an article, but it is absolutely essential to a book.

Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.

The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from everyday life.

In the following pages I offer nothing more than simple facts, plain arguments, and common sense; and have no other preliminaries to settle with the reader, than that he will divest himself of prejudice and repossession, and suffer his reason and feelings to determine for themselves; and that he will put on, or rather that he will not put off, the true character of man, and generously enlarge his view beyond the present day.

It is only when you open your veins and bleed onto the page a little that you establish contact with your reader. If you do not believe in the characters or the story you are doing at that moment with all your mind, strength, and will, if you don't feel joy and excitement while writing it, then you're wasting good white paper, even if it sells, because there are other ways in which a writer can bring in the rent money besides writing bad or phony stories.

It skims in through the eye, and by means of the utterly delicate retina hurls shadows like insect legs inward for translation. Then an immense space opens up in silence and an endlessly fecund sub-universe the writer descends, and asks the reader to descend after him, not merely to gain instructions but also to experience delight, the delight of mind freed from matter and exultant in the strength it has stolen from matter.

Writing prejudicial, off-putting reviews is a precise exercise in applied black magic. The reviewer can draw free-floating disagreeable associations to a book by implying that the book is completely unimportant without saying exactly why, and carefully avoiding any clear images that could capture the reader's full attention.

Writers write to influence their readers, their preachers, their auditors, but always, at bottom, to be more themselves.

I am stealing the golden vessels of the Egyptians to build a tabernacle to my God from them, far far away from the boundaries of Egypt. If you forgive me, I shall rejoice; if you are enraged with me, I shall bear it. See, I cast the die, and I write the book. Whether it is to be read by the people of the present or of the future makes no difference: let it await its reader for a hundred years, if God himself has stood ready for six thousand years for one to study him.

I was a very keen reader of science fiction, and during the time I was going to libraries, it was good, written by people who knew their science.

Every reader of your ad is interested, else he would not be a reader. You are dealing with someone willing to listen. Then do your level best. That reader, if you lose him now, May never again be a reader

The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.