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Reader Quotes

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“Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.”

“Teaching Plato in Palestine shows how philosophical thinking can illuminate important topics-in particular, the problem of finding ways to engage people with opposed ideologies in fruitful debate. The lively narratives, based on the author's experiences of working with various groups interested in using philosophical tools to clarify their thought and action, will engage a wide range of readers.”

“The general ideas which are expressed in sketches, correspond very well to the art often used in poetry... every reader making out the detail according to his own particular imagination... but a painter, when he represents Eve on canvas, is obliged to give a determined form, and his own idea of beauty distinctly expressed.”

“I try to keep deep love out of my stories because, once that particular subject comes up, it is almost impossible to talk about anything else. Readers don't want to hear about anything else. They go gaga about love. If a lover in a story wins his true love, that's the end of the tale, even if World War III is about to begin, and the sky is black with flying saucers.”

“There are very real differences between science fiction and realistic fiction, between horror and fantasy, between romance and mystery. Differences in writing them, in reading them, in criticizing them. Vive les différences! They're what gives each genre its singular flavor and savor, its particular interest for the reader - and the writer.”

“It's interesting when you're doing signing sessions with other writers and you look at the queues at each table and you can see definite human types gathering there.... My queue is always full of, you know, wild-eyed sleazebags and people who stare at me very intensely, as if I have some particular message for them. As if I must know that they've been reading me, that this dyad or symbiosis of reader and writer has been so intense that I must somehow know about it.”

“I am called to listen to the sound of my own heart -- to write the story within myself that demands to be told at that particular point in my life. And if I do this faithfully, clothing that idea in the flesh of human experience and setting it in a true place, the sound from my heart will resound in the reader's heart.”

“The reader brings to the work personality traits, memories of past events, present needs and preoccupations, a particular mood of the moment and a particular physical condition. These and many other elements in a never-to-be-duplicated combination determine his response to the text.”

“The analytical writer observes the reader as he is; accordingly, he makes his calculation, sets his machine to make the appropriate effect on him. The synthetic writer constructs and creates his own reader; he does not imagine him as resting and dead, but lively and advancing toward him. He makes that which he had invented gradually take shape before the reader's eyes, or he tempts him to do the inventing for himself. He does not want to make a particular effect on him, but rather enters into a solemn relationship of innermost symphilosophy or sympoetry.”

“I'm not a writer who's preaching some particular philosophy or something but the big questions do concern me and I like to make my readers think and debate and argue with each other and look at some aspect of the world or some act of governance or war or power and have an angle they haven't considered before, and that's something I strive for and hopefully have accomplished.”

“Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.”

“One particular debate that I have seen play out again and again is whether trans people who have more traditional gender expressions or who "pass" more should be the ones who are represented. A recent advocacy guide focused on advocating around trans health care access produced by the largest trans advocacy organization in the US instructs readers that advocacy will be more successful if the message is delivered by people who pass as non-trans men and women.”

“When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.”

“The confusion, the difficulties, the contradictions which, in consequence of a want of accurate distinctions in this particular, have up to even a recent period encumbered mathematics in all those branches involving the consideration of negative and impossible quantities, will at once occur to the reader who is at all versed in this science, and would alone suffice to justify dwelling somewhat on the point, in connexion with any subject so peculiarly fitted to give forcible illustration of it as the Analytical Engine.”

“One of the things that bugs me about the Western Literary Tradition is that the conventions of narrative in particular seem to confine the stories you can tell about characters to tropes of bone-headed action and old models of psychological realism. And as readers, too, we have been conditioned to understand characters as - and forgive me for saying it out loud - what the market says they should be. Namely, safe, clean, proper.”

“If Fobbit leaves a reader feeling stranded in some bland in-between territory, then I haven't done my job. But having said all that, I didn't consciously write the book with a particular moral intent. I took what I experienced and processed it through the sausage factory of fiction. It's up to readers to interpret what's on the page - as is the case with any novel.”

“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.”

“I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully.”

“I would like to undermine the stereotype of "strict philosophy." J.L. Austin remarked that, when philosophy is done well, it's all over by the bottom of the first page. I take him to have meant that the real work comes in setting up the problem with which you are dealing, and thus getting your reader to take particular things for granted.”

“I suspect that any worthwhile exploration of these deep questions about living requires going beyond abstract discussions to the vivid presentation of possibilities. If readers are to be prompted to serious examination of their lives, anatomy isn't enough. We have to be stimulated to imagine, in some detail, what it would be like to live in particular ways.”

“In the media, a reviewer has his personal vision but it's passed along to a million readers or whatever. He might think that this particular song sounds like Jo Blow. Or like a Bo Diddley record that he heard six years ago. But the artist who made the record may never have even heard the Bo Diddley song. We all respond differently.”

“What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.”