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Reader Quotes

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Reader Quotes

“I should love to do a novel, about one abnormal character seeing present-day life, very ordinary life, yet arresting through it, abnormality, until at the end the reader sees, and with little reluctance, that he is not abnormal at all, and that the main character might as well be himself.”

“What are the hallmarks of a competent writer of fiction? The first, it seems to me, is that he should be immensely interested in human beings, and have an eye sharp enough to see into them, and a hand clever enough to draw them as they are. The second is that he should be able to set them in imaginary situations which display the contents of their psyches effectively, and so carry his reader swiftly and pleasantly from point to point of what is called a good story.”

“The Transformation of the World is lavishly reinforced with critical apparatus (that, too, must have been a labor of Hercules to translate--I honestly never expected to see this book in English), but by far its greatest attraction is the intelligence and more important the wisdom of its author. It's a towering achievement no serious reader should miss.”

“The only real reason for self-referencing is the fun factor. It's fun for the writer, getting little peeks at what old characters might be up to. And it's fun for readers to spot a familiar face, or pick up on a made-up book title or something from an earlier story. I don't know that it does -- or even should -- contribute to the story in hand being any better than it would have been without it.”

“Your readers should be so compelled to read your copy that they cannot stop reading until they read all of it as if sliding down a slippery slide.”

“There are all sorts of theories and ideas about what constitutes a good opening line. It's tricky thing, and tough to talk about because I don't think conceptually while I work on a first draft -- I just write. To get scientific about it is a little like trying to catch moonbeams in a jar. But there's one thing I'm sure about. An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.”

“I would be wonderful with a 100-year moratorium on literature talk, if you shut down all literature departments, close the book reviews, ban the critics. The readers should be alone with the books, and if anyone dared to say anything about them, they would be shot or imprisoned right on the spot. Yes, shot. A 100-year moratorium on insufferable literary talk. You should let people fight with the books on their own and rediscover what they are and what they are not. Anything other than this talk.”

“When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.”

“This book reminds me of James Gleick's Chaos. The ideas and stories in Loving and Hating Mathematics are timely, interesting, and sometimes even profound. The authors, writing for nonspecialists, take pains to explain technical ideas in nontechnical language, and the book should interest general readers as well as a large mathematical audience.”

“Before the reader is introduced to the modest country medical practitioner who is to be the chief personage of the following tale, it will be well that he should be made acquainted with some particulars as to the locality in which, and the neighbours among whom, our doctor followed his profession.”

“The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.”

“The reader can test his own psychology by asking himself whether he would consider, in retrospect, the selling at 156 in 1925 and buying back at 109 in 1931 was a satisfactory operation. Some may think that an intelligent investor should have been able to sell out much closer to the high of 381 and to buy back nearer the low of 41. If that is your own view you are probably a speculator at heart and will have trouble keeping to true investment precepts while the market rushes up and down.”

“You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.”

“As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.”

“I think readers appreciate those of us who stay in the trenches and fight the good fight even when times get tough. I know that I, personally, lost respect for writers who, when there was a downturn in the market, started shouting from the rooftops that they wrote thrillers and suspense novels rather than horror. As far as I'm concerned, those wussboys should sever all ties with the horror community if that's the way they feel and get out of the way so real horror writers can do their work.”

“I have been induced to adopt this course by a desire that my readers should be taught to think as well as to experiment, and thus be qualified at an early part of their study to discriminate between the true and the false, and acquire the facts of the science without being mystified by its fictions.”

“coincident with the explosive growth of research, the art of writing science suffered a grave setback, and the stultifying convention descended that the best scientific prose should sound like a non-human author addressing a mechanical reader. ... We injure ourselves when we fail to make our discipline as clear and vibrant as we can to students - prospective scientists - and to the public who pay the taxes.”

“Chats are so new to newspapers, historically. But they're so incredibly valuable because editors/reporters/columnists get to find out what's on the minds of our readers, what you think we should be writing about, what ticks you off, what makes you happy. Sometimes it can confirm what you think readers are interested in; sometimes it can turn you around 180 degrees.”

“There is a secret and wholesome conviction in the heart of every man or woman who has written a book that it should be no easy matter for an intelligent reader to lay down that book unfinished. There is a pardonable impression among reviewers that half an hour in its company is sufficient.”

“Some of my youthful readers are developing wonderful imaginations. This pleases me. When I was young I longed to write a great novel that should win me fame. Now that I am getting old my first book is written to amuse children. For aside from my evident inability to do anything "great," I have learned to regard fame as a will-o-the-wisp which, when caught, is not worth the possession; but to please a child is a sweet and lovely thing that warms one's heart and brings its own reward.”

“History is not truth versus falsehoods, but a mixture of both, a mélange of tendencies, reactions, dreams, errors, and power plays. What's important is what we make of it; its moral use. By writing history, we can widen readers' thinking and deepen their sympathies in every direction. Perhaps history should show us not how to control the world, but how to enlarge, deepen, and discipline ourselves.”

“That I can read and be happy while I am reading, is a great blessing. Could I have remembered, as some men do, what I read, I should have been able to call myself an educated man. But that power I have never possessed. Something is always left--something dim and inaccurate--but still something sufficient to preserve the taste for more. I am inclined to think that it is so with most readers.”

“Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.”