I have a great deal of sympathy for reluctant readers because I was one. I would do anything to avoid reading. In my case, it wasn't until I was 13 and discovered the 'Lord of the Rings' that I learned to love reading.
A lot of readers want characters to behave in a responsible way, or they want to understand the characters' dilemma and act, in a way, on their behalf.
We have a tendency to think of war as this quasi-mystical thing, and that interpretation flattens the experience - by using different perspectives, I wanted to open a place for readers to compare and contrast, to make judgments, to engage.
Admiration from my readers inspire me, and the only 'formula' I believe in towards making a good writer is: 'to thine own self be true!'
I had this story that had been banging around in my head and I thought, 'I'll just see if there's anything there.' So I wrote a few chapters of the book that became 'Year of Wonders,' and lucky for me it found its readers.
'Blowback,' as many 'Nation' readers are aware, was a term introduced into popular circulation by the late political scientist Chalmers Johnson, an old Cold Warrior turned dissident.
A lot of its readers are of an age where they forget to cancel.
If you don't go talk to your boss, if you don't go talk to your mentors, if you don't go talk to people who can influence where you want to be, then they don't know. And they're not mind readers.
One thing that writers have in common is that they are readers first. They have read lots and lots of stuff, because they're just infested with lots of stuff.
I began tailoring my books to cater to one or another universe of readers. I found it incredibly boring; and frankly, it felt stultifying. I'd previously been in advertising. I felt if I was going to create something to fit a specific market, I might as well have stayed with advertising.
I love the fact that so many of my readers are intelligent, exceptional, accomplished people with an open-minded love of diversity.
I think a lot of what the iPad app is going to be used for is just reading the best content on Quora. It really helps the whole system run because people who are writing answers can get this very wide distribution to a large audience of readers.
Readers regularly ask what can go wrong but almost never what could positively surprise.
I was very fortunate that my first novel captivated the imaginations of so many readers who asked for a sequel. After that, one book led to another as I discovered other facets to my characters I wanted to investigate further.
A huge potential audience, great interaction with your readers, the ability to see what people like and what they don't, the ability to see how people respond to what you're doing in real-time - there's just tons of great stuff that you get by being online.
I write in expectation that readers want to participate in a kind of two-sided game: They are trying to guess what I am up to - what the story's up to - and I'm giving them clues and matter to keep them interested without giving everything away at the start. Even the rules, if any, of the game are for the reader to discover.
As far as what readers can expect with 'Maybe Someday,' I'm not the type of writer who writes to educate or inform my readers. I simply write to entertain them.
Each person must ask what his relationship is to the scapegoat. I am not aware of my own, and I am persuaded that the same holds true for my readers. We only have legitimate enmities. And yet the entire universe swarms with scapegoats.
Critics at their best are independent voices; people take seriously their responsibility to see as many things as they can see, put them in the widest possible perspective, educate their readers. I really do think of myself as a teacher.
The main thing I love about street photography is that you find the answers you don't see at the fashion shows. You find information for readers so they can visualize themselves.
I really care about my readers. I care about anyone who reads my books.
I felt like challenging myself and challenging my readers with something darker and heavier. I don't know how to explain it, because I'm not a political person. I have two political stories, and that's it: 'Human Diastrophism' and 'Poison River.'
I'm just trying to keep things rich for me creatively and for the readers who follow me.
'Time' is an internationalist publication catering to internationalist readers who are not only interested in their own backyard.
We decided we wanted the site to provide readers with fresh new stories to enjoy between major book releases by their favorite authors while allowing those same authors to flex their creative muscles.
If we declare ourselves, as readers, to be on the side of life, the question has to be asked what sort of life we are on the side of.
I think you become a writer when you stop writing for yourself or your teachers and start thinking about readers.
I love being in touch with my readers and fellow writers! It's just amazing to have such access to people.
The publishing world is very timid. Readers are much braver.
If you look at the history of how information flows, there was a time that newspapers were kind of in the place that Google and Facebook are now - how do we get more people to buy a copy? Then there was a shift in the early 20th century. They needed to do better, and readers and consumers demanded that of them.
Nowadays, everyone seems to have a blog that finds readers.
Each piece of content you create should lead your readers further down the path to purchase. Typically, sales and leads won't happen until a prospect has had multiple points of contact with you, so don't expect sales after a single blog post.
It really matters to writers to find and treasure readers, all the more when they're on the other side of the world.
I'm always astonished by the confidence my readers put in me.
My life is at least as intricate as my readers' lives. People say that 'The Artist's Way' changed their lives, but when they talk about 'Floor Sample,' they tell me, 'I was with you all the way.'
'A Princess of Mars' may not have exerted the same colossal pull that Tarzan had on the global imagination, but its influence on generations of readers cannot be underestimated.
