Readers Quotes

When you're kept by a patron you don't have to duke it out in the media marketplace for dollars and for readers. In some ways that's a blessing because it takes a lot of pressure off you.

A book is always a dialogue with other readers and other books.

It's the publicity function of Amnesty that I think has made its name so widely known, not only to readers in the world, but to governments - and that's what matters.

I think the thinking is, in the comic books, I should pack as much onto a page as possible, because, you know, it's kind of the cheaper format, and you want to give readers as much as you can for their dollar.

My readers - and I get 400 emails for a day, my readers normally they say, well, you understand me, and I answer, you do understand me also. We are in the same level.

Readers are plentiful: thinkers are rare.

I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.

I was one of the first authors to have an active website. I'm totally obsessed with technology. I'm always looking for ways to connect with my readers. I answer all my fan mail.

You can do the best research and be making the strongest intellectual argument, but if readers don't get past the third paragraph you've wasted your energy and valuable ink.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

A conventional good read is usually a bad read, a relaxing bath in what we know already. A true good read is surely an act of innovative creation in which we, the readers, become conspirators.

There is a neurologist, a woman over at Harvard who wanted me to come talk to them, and in France I have a lot of readers in the sciences. I can't tell you why.

It is more difficult to keep the attention of hearers than of readers.

Don't be afraid to make a mistake, your readers might like it.

These people are real to me, and situations keep coming up where their emergence feels natural. It's like meeting old friends. I hope readers feel the same way.

If I am communicating to my readers exactly what the White House believes on any certain issue, that's reporting to them an unvarnished, unfiltered version of what they - the Administration - believe.

People who were more concerned with themselves and looking good to their readers then they were with the characters sacrificed a series for the sake of a story.

I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.

I don't want to force my politics on my readers.

In a highly competitive newspaper market, every editor needs to appeal to female readers to boost their circulation.

It seems to me that readers sometimes make the genesis of a poem more mysterious than it is (by that I perhaps mean, think of it as something outside their own experience).

Every so often I find some poems that are too good for the readers of The Atlantic because they are a little too involved with the nature of poetry, as such.

The world would be a very sad place if readers could only love one story.

German readers are much like Brits or Americans: They read for the thrill of it, the occasional shudder down the spine, knowing it's not real - but looking over their shoulders anyway, just in case.

My first generation of young readers now have not only children, but some of them have grandchildren to whom they're introducing their old passion.

The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.

The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.

Familiar life, tending to sordidness, had been succeeded by remote life, generally idealized; historical detail had been brought in to teach readers who were being entertained.

I always have one or two, sometimes more, Navajo or other tribes' cultural elements in mind when I start a plot. In Thief of Time, I wanted to make readers aware of Navajo attitude toward the dead, respect for burial sites.

As writers we must, from our very opening sentence, speak with authority to our readers.