In cities like New York, it is common to find taxicabs with wireless-enabled card readers.
Indie bookstores love writers as much as they love readers, and there is something about a community store, where you walk in, you feel known, and the delight in books is just infectious.
Readers in general are not fond of dialect, and I don't blame them. I've read books myself that I've had to put down because sounding out every speech gave me a headache.
Limited points of view let the writer dispense - and the reader gather - information from various corners of the story. It all becomes a kind of dance, with the writer guiding the reader through the various twists and turns. The challenge is keeping readers in step, while still managing to surprise.
Readers are always surprised to learn that authors have little or no input regarding the cover art for their books.
Not every gay person recites poetry or has read Keats. You can get readers through anything if the characters are complicated. You can't dismiss Josey Wales' quite liberal worldview.
My intent is not to inflame Muslims but to entertain readers of great thrillers. At the end of the day, I want people to see a good protagonist struggle against serious odds and do so with courage and honor and integrity.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
There are so many people who don't know small towns exist. When I write, I want to give my readers two things: one is a sense of consolation, and two, I want to make them laugh.
I'd read one too many crime novels where the victim was just a name: body number one, dead woman number 12. I understood fear, and I wanted to create characters who made readers say, 'Please, don't hurt this guy.' That's the key to suspense. It's easy to disgust a reader. It's much harder to make them care.
People want to download publications quickly and read them without cruft. Publications that started in print carry too much baggage and usually have awful apps. 'The Magazine' was designed from the start to be streamlined, natively digital, and respectful of readers' time and attention.
Some people don't like my fiction, because they prefer the nonfiction. But moving around keeps the work fresh for me and, hopefully, for my one or two readers who follow me from book to book!
Before 'Wings' came out, I told a few people that at the end of book one, readers should think Laurel made the right choice. Then, at the end of 'Spells,' they should understand why Laurel made the choice she did.
The wider your readership, the greater the chances of offending your readers.
I want young readers to know that to tell their own story is the most important thing they'll ever do.
As writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note.
The ways in which readers encounter and relate to information is dramatically influenced by their education as well as their awareness of the pitfalls relating to the information source.
For a professional writer in the Soviet Union, it works this way. First, you have to have something to say - that's the main thing. Second, it's a matter of who publishes you. If your book has real stuff in it, readers will ferret it out, even in a Siberian journal.
The original idea was to make it easy to publish content on the Web and find an audience. What we learned from publishers is that the thing they want the most is more readers and more revenue.
I've never thought about the ages of my readers.
PR and marketing doesn't sell books. It gets attention for them. It sends readers to bookstores and websites to read a few pages.
Because of the nature of my brand, it's so important our readers know it really is me behind my keyboard.
My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.
One of the many things that surprised me about 'Wool' is how many of its fans don't consider themselves science fiction readers.
One of the biggest challenges of writing for middle-grade or even young-adult readers is that I don't want to have too much violence in it - which really limits what you can do. It's important that they're not just bloodbaths or glorifying violence. I always try to show that a person who dies leaves a hole. There's grief in my books.
Whenever I go to Germany I find that my readers have T-shirts with my book covers printed on them. They come to all the events, they have gifts and they come with their families. They are always very open to sharing their personal stories.
Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.
Every time you write anything, at least half your readers are going to disagree with you. A big part of sports writing is how you respond to that tension.
Early on, after gay liberation, there was an almost Stalinist pressure from gay critics and even gay readers to write about positive role models. We were never supposed to write negative things about gays, or else we were seen as collaborating with the enemy.
If something is crucial to the plot, then I'd better be sure I've got my facts straight. Readers of crime novels are smart and savvy, and they'll waste no time letting me know if there's a hole in my plot.
An author entices the readers with their words, and it is painful for them to even lose a sentence. But films and books are two different mediums and should be dealt differently. What works in a book might not work for a film. When I saw 'Anna Karenina' on screen, I didn't like it at all, whereas 'The Godfather' was legendary.
The people who relate to Playboy, both readers and people who produce it, are not the way the critics think they are.
I love the challenge of taking established, iconic comics characters and showing readers why they remain contemporary.
'Rescue Me' is the first book in a three-book series. Although, like all my series, the books are purposely written so that readers do not have to read them in order.
I write with a sense of my future readers being ever on the verge of setting down the book and pronouncing it a bore. Fear and insecurity are great motivators.
For many years I thought my job was to go to places where it would be difficult for most of the readers to ever get to. Now, in the more than 20 years I've been doing this, the concept of adventure-travel trips or expeditions by groups has sprung up. The places I went 20 years ago now have adventure-travel trips.
