Reader Quotes
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I tend not to attempt to describe pain. I don't feel I can comprehend or re-create the personal suffering of others, so I simply try to tell what happened, or what I imagine happened. I also think it helps to let the reader fill in a lot of the blanks. Melodrama is patronizing. With a straightforward statement, readers can figure out for themselves what's going on.
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Grabbing readers by the imagination is a writer's job.
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We shall not attempt to give the reader an idea of that tetrahedron nose-that horse-shoe mouth-that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart-of those straggling teeth with breaches here and there like the battlements of a fortress-of that horny lip, over which one of those teeth projected like the tusk of an elephant-of that forked chin-and, above all, of the expression diffused over the whole-that mixture of malice, astonishment, and melancholy. Let the reader, if he can, figure to himself this combination.
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For me,the greater part of writing is daydreaming, dreaming the dream of my story until it hatches out-the writing down of it I always find hard.But I love finishing it,then holding the book in my hand and sharing my dream with my readers.
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The ear is the only true writer and the only true reader.
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Dipping a cockroach in ink and having it scamper around the page would have left more legible traces to the average reader.
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Animal personalities have always intrigued me, the desire to find out more about them made a reader out of me.
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If modesty and candor are necessary to an author in his judgment of his own works, no less are they in his reader.
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There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. ... The truth is that when an author begins to write for the sake of covering paper, he is cheating the reader; because he writes under the pretext that he has something to say.
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I do not think that a flight across the Atlantic will be made in our time, and in our time I include the youngest readers.
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When book and reader's furrowed brow meet, it isn't always the book that's stupid.
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Non-Russian readers do not realize two things: that not all Russians love Dostoievsky as much as Americans do, and that most of those Russians who do, venerate him as a mystic and not as an artist.
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I think writing and reading are completely synergistic; not necessarily in that one has to be a good reader to be a good writer or vice versa, but that they so inform each other.
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I have observed that vulgar readers almost always lose their veneration for the writings of the genius with whom they have had personal intercourse.
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I would like my readers to close the cover at the end and say, 'Wow, I never thought of it like that before'.
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Easy reading is damn hard writing. But if it's right, it's easy. It's the other way round, too. If it's slovenly written, then it's hard to read. It doesn't give the reader what the careful writer can give the reader.
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Original work has no floor and no ceiling. You can reach essentially zero readers or millions.
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If you don't hit a newspaper reader between the eyes with your first sentence, there is no need of writing a second one.
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My job as the writer is to fool you. Your job as the reader is to see if you can catch me at it.
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Still,[...] in all forms of comics the sequential artist relies upon the tacit cooperation of the reader. This cooperation is based upon the convention of reading and the common cognitive disciplines. Indeed, it is this very voluntary cooperation, so unique to comics, that underlies the contract between artist and audience.
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Just because you're an avid reader doesn't mean you're an avid understander.
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I'm quite a good reader of people; I like to meet people, and I can tell if they're lying or not, and I've certainly had interviews with people in this radio show I've done that swear they've seen things or have had bizarre experiences with creatures, and so I think they're telling the truth.
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[In art] you are telling the reader or the listener or the viewer something he already knows but which he doesn't quite know that he knows, so that in the action of communication he experiences a recognition, a feeling that he has been there before, a shock of recognition.
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The sincerity of feeling that is possible between a writer and a reader is one of the finest things I know.
