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Reader Quotes

“Americans are curious about the texture of everyday life in the Middle East because they rarely get to see it. I wanted readers to feel like they were sitting around the dinner table with me and my friends, hearing what average people really say and really think, [where] the dinner table is the best place to find out.”

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Author:Annia Ciezadlo
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“I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect. I wanted to show readers that the larger politics of war and economics and U.S. foreign policy are inextricably bound to the supposedly trivial details of our everyday lives.”

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Author:Annia Ciezadlo
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“There is all this stuff about how sensitive poets are and how in touch with feelings, etc. they are, but really all we care about is language. At least in the initial stages of the process of writing the poem, though later other things start to come in, and a really good poem usually needs something more than just an interest in the material of language to mean anything to a reader.”

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Author:Matthew Zapruder
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“Reading a poem is a real thing, a worthy thing. So to be there right with the reader at that moment is part of the effect of a title like "Poem for" something or other. Matt Rohrer does this a lot in his titles, and I think I might have gotten some of the idea to do this, or at least been reminded of how it can work, from his recent amazing books.”

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Author:Matthew Zapruder
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“I'm more than a little suspicious of humor in poems, because I think it can at times be a way of getting a reaction out of a reader, or an audience, that is something closer to relief: i.e., thank god this isn't poetry, but stand-up comedy. Some poets are really funny, but more often poets are fourth rate stand up comics at best. But they benefit from the sheer relief of the audience.”

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Author:Matthew Zapruder
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“Not to any really influential effect, but certainly there have been comments that have surprised me. It's surprising sometimes to get particular perspectives on your work, and it's enlightening sometimes to know that non-writers and readers out there have certain assumptions about everything that I both want to keep in mind and want to forget about why I write, and about the connection between me as a private person and the stuff that I think about on the page.”

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Author:Chang-Rae Lee
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“I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.”

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Author:Chang-Rae Lee
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“I don't revise a lot when writing short stories. As far as the novel, I definitely thought more about plot. Honestly, I'm still pretty confused about what "plot" means. I've been reading some of my Goodreads reviews and one reader noted that the The Last Days of California "reads like a short story stretched to the breaking point, padded and brought into novel range..." I don't know what people want, really.”

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Author:Mary J. Miller
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“I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.”

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Author:T.C. Boyle
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“Now, as a reader, you shouldn't feel the decisions the writer makes about this DNA, or it would be boring beyond belief. But, as a writer, you're struggling to make these decisions. What should the title be? What's the first line? The point of view? And the struggle with the decisions is because you're trying to figure out WHAT IS THE NOVEL, WHAT IS THE NOVEL?”

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Author:Mary Kay Zuravleff
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“Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution.”

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Author:Chris Abani
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“Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.”

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Author:Chris Abani
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“I don't think about the reader in any conscious way that impacts the writing, as far as, Hey, most readers would like this! But at the same time, if it were presented to me: "John, you're going to write a novel. It's going to take you a few years. When you're done with it, there's a law that no one's allowed to read it." I don't think I would write it. I want someone to read it!”

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Author:John Brandon
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“Very often, or perhaps more often, and even in very good collections - even in some of the best collections ever written, I would argue - it's because our "voicier" writers hew so closely to one given set of dictional tics that we as readers can't read the books all the way through in a single sitting, because if we did, the stories and their narrators would all start to bleed together.”

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Author:Roy Kesey
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“I didn't intentionally emplace the raw material needed for political/allegorical readings into any of the first drafts, but sooner or later I saw it coming, and I did intentionally not cut it from some of the final drafts. In other words, I'm not particularly interested in encouraging readers to read certain stories that way, but I want to make sure that route's accessible should anyone be so inclined.”

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Author:Roy Kesey
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“I have three boys. And I wanted to make sure it connected with them and then those guys who grew up like me, in environments like me.And then I knew something about science that your New York Times reader would be interested in. So I was thinking about it in multiple ways: I'll connect with the people who grew up like me first, and then the New York Times reader will be interested in the science because it's so good and they want to be "in the know."”

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Author:Carl Hart
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“An initial impulse of mine was to portray the way in which a city is impacted by war. But this is vague, no? After all, how do you actually have an entire city - or country, for that matter - be a character a reader can follow? One way is by making it smaller and personalizing it, by writing specifically about the citizens and the way they contend with the reality, even minutiae, especially minutiae, of their lives.”

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Author:Said Sayrafiezadeh
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“Love and happiness inextricably combined? I wanted love stories to coincide with war stories, I wanted hope for my characters, I wanted a sense of a future. So do they. So does the reader. But perhaps I shouldn't speak for everyone when I say that love and happiness are interdependent. In my own experience, happiness came with love. Specifically, my wife. That's when my own apathy and stasis ended for good.”

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Author:Said Sayrafiezadeh
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