Quotes on Reader

I have said that each aspect of the novel demands a different quality of the reader. Well, the prophetic aspect demands two qualities: humility and the suspension of the sense of humour.

One gains universal applause who mingles the useful with the agreeable, at once delighting and instructing the reader.

Part of the particular interest and beauty of science fiction and fantasy: writer and reader collaborate in world-making.

The surest way to arouse and hold the attention of the reader is by being specific, definitive, and concrete. The greatest writers - Homer, Dante, Shakespeare - are effective largely because they deal in particulars and report the details that matter. Their words call up pictures.

Translation rewrites a foreign text in terms that are intelligible and interesting to readers in the receiving culture. Doing so is akin to committing an act of ethnocentric violence by uprooting the text from the language and culture that gave it life. Translating into current, standard English at once conceals that violence and homogenizes foreign cultures.

Early on, a story's meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it - and so things have to be ramped up.

Reading is, at its best, not an escape; it is genuine experience. A novel is not a monologue, but a conversation, a collaboration between writer and reader, an invaluable exchange of human conditions.

It is my feeling that a story is not finished until it is read, and that the reader finishes it through his or her life experience, prejudices, worldview and thoughts.

As a reader I loathe introductions...Introductions inhibit pleasure, they kill the joy of anticipation, they frustrate curiosity.

January 8 has been a lucky day for me. I have started all my books on that day, and all of them have been well received by the readers. I write eight to ten hours a day until I have a first draft, then I can relax a little. I am very disciplined. I write in silence and solitude. I light a candle to call inspiration and the muses, and I surround myself with pictures of the people I love, dead and alive.

Literature taught me that I wasn't alone, that I could become a writer if I worked at it, that my story mattered. Whether a young reader becomes a writer or not, they deserve to know that their story, whatever it may be, is important.

Literature overtakes history, for literature gives you more than one life. It expands experience and opens new opportunities to readers.

Semicolons . . . signal, rather than shout, a relationship. . . . A semicolon is a compliment from the writer to the reader. It says: "I don't have to draw you a picture; a hint will do."

A masterpiece of fiction is an original world and as such is not likely to fit the world of the reader.

When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.

It is no judgement of a thing outside yourself to say it makes you ill. The wise reader knows that every pronouncement is, to some degree, an act of self-exposure; the book you find too challenging might only show how ill-equipped you are to face its challenge.

Good writing, and this is especially important in a subject such as economics, must also involve the reader in the matter at hand. It is not enough to explain. The images that are in the mind of the writer must be made to reappear in the mind of the reader, and it is the absence of this ability that causes much economic writing to be condemned, quite properly, as abstract.

Our easiest approach to a definition of any aspect of fiction is always by considering the sort of demand it makes on the reader. Curiosity for the story, human feelings and a sense of value for the characters, intelligence and memory for the plot. What does fantasy ask of us? It asks us to pay something extra.

I often think I can see it in myself and in other young writers, this desperate desire to please coupled with a kind of hostility to the reader.

I think that the reader should enrich what he is reading. He should misunderstand the text; he should change it into something else.

If you are reading in order to become a better reader, you cannot read just any book or article. You will not improve as a reader if all you read are books that are well within your capacity. You must tackle books that are beyond you, or, as we have said, books that are over your head. Only books of that sort will make you stretch your mind. And unless you stretch, you will not learn.