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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!”

“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.”

“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.”

“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."”

“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.”

“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 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.”

“I think the way design was practiced for most of the 20th century was very declarative. A designer came up with a solution for a project and put it in place and shipped the solution and it landed in a reader or a customer's hands as a brochure. They would see it as a poster, or as a piece of signage. And that was sort of it. That was the end of it. I think Internet technology has really upended that whole equation because in some ways a designer's work is never really done online.”

“Through Heaven's Gate and Back speaks to all of us that have been abused as children. Lee Thornton's descriptions of the aftereffects of repeated trauma and a profound Near-Death Experience (NDE) are not only true but explained in a way that the reader can take in. It is rare to find a book so well written that it has both sexual abuse and an NDE under one cover. We definitely will be recommending this book to our patients.”

“I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.”

“In a way, I'm glad I'm first because I won't have to panic about following anybody other than industry legend John Romita Jr. And he drew Daredevil: The Man Without Fear, which is one of the books that had a massive effect on me as a reader and an artist. It has been intimidating, scary, exciting, and incredibly satisfying.”

“I was interested first of all in trying to capture this myth that was always changing and to create some sort of a master story, some version of the myth that resonated with me, since I could have taken more or less any detail that I wanted or the opposite and try to put that down on the page in a way that I could express from that outset for myself and for our readers what it was that was so magical about [Buckminster] Fuller's way of putting together the world.”

“I come from a nation where fantastic fiction has a very low status, unless it fits into some very specific categories or is written by already established authors. I don't by any means try to hide what I write, but the way people think in categories here is pretty extreme: it blots out discussing the actual work on its own terms. That's made me loath to talk about my own work in terms of genre, because once you get a label, it sticks and poof go a slew of potential readers and reviewers because eww, fantasy cooties.”

“I don't think a novel's main donation, main gift, is the document. The document is there, but a novel goes beyond documentation. It goes into opening a new vista, opening a new perspective, showing familiar things in an unfamiliar way, and making the reader reconsider the documentary facts which he or she may have known before.”

“Of course, we [ with Edward Herman] have a purpose: namely, to encourage readers to undertake what might be called "a course in intellectual self-defense," and to suggest ways to proceed; in other words, to help people undermine the dedicated efforts to "manufacture consent" and to turn them into passive objects rather than agents who control their own fate.”

“Unbeknownst to me, two readers of the posts, both published authors, contacted their agent, Bill Jensen, within 24 hours of each other, encouraging him to drop me a line. Which he did. He shared his extensive publishing background with me, and prayerfully offered to work out a proposal and to see if God opened any publishing doors? I never get over the unexpected ways of God.”

“I think [testing] has had a profoundly problematic impact on student learning. It must seem to students that their worth as individuals is equivalent to their test score. The stress the high stakes culture has on teachers is also highly negative and must surely impact students in a negative way. It also de-professionalizes teachers because it encourages them to be script readers, followers of rigid schedules, and to disregard the needs of the people they teach in favor of the scripts and schedules.”

“I knew I had found my life's passion after writing my first column for The Washington Post. The response was like nothing we had seen in the business section. Everyday people were writing that finally someone was speaking to them in a way that was understandable. I think we were all shocked at how many readers wrote in to say that they too had a Big Mama who taught them about money.”

“There are many little ways to enlarge your child's world. Love of books is the best of all.”

“It's an important moment as a reader, I think, when you can forget the question of whether you need to know what happened. Some people really want hard explanations. I'm the other way. I like mysteries. I don't want to frustrate people. I don't want people to feel like they got no answers, but I want to approach the mystery and sit with it.”

“It might be helping to explore a story visually by going to see a museum exhibit that's relevant to something that somebody's reading, or going to see a show or listening to a piece of music or cooking a meal that's in one of the stories, something practical, something kinesthetic that draws the reader in and helps them to experience the story for themselves. Those are all ways I think we can kind of come in the back door and help kids find the joy, as opposed to the chore or responsibility, of reading.”

“I think that actually the rhythmic nature of picture books and of young reader story books is a way to help kids fall in love with language and what you can do with it and how it sounds in your range. It sort of has a musicality but on the other hand they get the story and the ideas and the context of it. I think it's a way to get kids into it and I also think that when kids are around people who love books it rubs off on them.”

“I want to make sense of things, to understand the world, but my work is never really instructional. I have no wisdom to impart or give, so I think my dream readers would be people who just use the book as an excuse to get into their own cycle of thoughts. The book is just like a map. It's just a jotting-down of things that you can interpret in your own ways.”