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Reader Quotes

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Reader Quotes

“I don't want to write things that people don't want to read. I would have no pleasure in producing something that sold 600 copies but that was considered very wonderful. I would prefer to sell 20,000 copies because the readers loved it. When I write books I don't actually think about the market in that way. I just tell myself the story. I don't think I'm talking to a 10-year-old boy or a six-year-old girl. I just write on the level the story seems to call for.”

“Every man feels that perception gives him an invincible belief of the existence of that which he perceives; and that this belief is not the effect of reasoning, but the immediate consequence of perception. When philosophers have wearied themselves and their readers with their speculations upon this subject, they can neither strengthen this belief, nor weaken it; nor can they shew how it is produced. It puts the philosopher and the peasant upon a level; and neither of them can give any other reason for believing his senses, than that he finds it impossible for him to do otherwise.”

“I have come to believe that large print, thick and heavy paper, and wide margins and oversize leading is indicative of the expected intelligence of the reader. … Compare children's books and books on Web Duhsign or other X-in-21-days books. If the reading level of a specification is below college level, chances are the people behind it are morons and the result morose.”

“On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.”

“Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.”

“A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know you're speaking, even, but you still have no idea how you will say it. Or the moment when, as a reader, you're reading, and you are understanding what you are reading, but still have utterly no idea what will come next for you, what precisely the author wants to say. For me, that is the ultimate level of literary depth, of literary density.”

“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.”