Writers are essential. Readers are essential. Publishers are not.
What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.
Readers really want to come back to an author; they do not want a one-book wonder. That is all very well, but to be career author, you have to be prepared to write one really good book and then write another really good book and keep feeding your readers. You build your audience over a long time.
I would say readers can trust my work more than anyone else's.
When I started, there was more of a cultural assumption that many readers would find gay characters irrelevant or repugnant.
I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun.
My books are comedies; I want to take my readers on a jet-setting romp, make them laugh, make them swoon at the beautiful settings, and maybe even make their mouths water at all the food.
Our ministry is supported entirely by faith, through the missions gifts of readers who receive my messages every three weeks. We seldom mention money, and we never burden supporters.
I think the 'New York Times' reviews overall tend to overlook popular fiction, whether you're a man, woman, white, black, purple or pink. I think there are a lot of readers who would like to see reviews that belong in the range of commercial fiction.
Fiction about mining has a long tradition - Emile Zola's 'Germinal' and Upton Sinclair's 'King Coal' come to mind - and most readers will be aware of the industry's harsh conditions.
When I began writing in the mid-1960s, I thought it was not important for readers to know whether I was male or female. Also, I was a great admirer of E.B. White, so I may have thought that it would bring me luck to submit my first manuscript as 'E.L.' But if I were starting out today, I would use my first name.
We need to write books that publicists and marketers and booksellers and book club leaders and librarians and readers can get excited about. That have something about them that makes them stand out. That makes them shine.
I love connecting with readers!
I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms, so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it.
People have told me that they cannot put down 'If I Stay' after reading it, and readers have become very invested in the love story between Adam and Mia.
Comic book readers tend to be pretty secular and anti-authoritarian; nothing is above satire in their eyes.
The future of publishing is about having connections to readers and the knowledge of what those readers want.
The world would be a very sad place if readers could only love one story.
I don't care if my books don't sell abroad; we have a large enough market in our country. I write for Indian readers.
I trust, that your readers will not construe my words to mean, that I would not have gone to a 3 o'clock in the morning session, for the sake of defeating the Nebraska bill.
There is a whole generation of romance readers and writers who suffer from what I like to think of as 'Thorn Birds' Fever.
To read Transtromer - the best times are at night, in silence, and alone - is to surrender to the far-fetched. It is to climb out of bed and listen to what the house is saying, and to how the wind outside responds. Each of his readers reads him as a personal secret.
In terms of the secrets that imbue and underlie 'Fall on Your Knees', they were as much of a mystery to me as I was creating the story as they are to the readers.
I hope to be with you as a writer for a very long time, and I hope that you will enjoy reading my work, because readers are the highest form of life on this planet.
Reading and writing, like everything else, improve with practice. And, of course, if there are no young readers and writers, there will shortly be no older ones. Literacy will be dead, and democracy - which many believe goes hand in hand with it - will be dead as well.
Reading is a free practice. I think the readers are free to begin by the books where they want to. They don't have to be led in their reading.
There's a village in my computer - friends, fans, readers, and colleagues. It's a populous, sometimes chaotic little burg always bustling with news, gossip, opinions and potential excitement.
With its vastly complicated plot and its immense cast of characters swirling around the case of Jarndyce vs. Jarndyce that has been grinding away in the Court of Chancery for decades, 'Bleak House' is, for many readers, Dickens's greatest novel.
By presenting a faithful and honest record of my experience as a mother, I hope to show both my readers and my children how truth can redeem even what you fear might be the gravest of sins.
Only a generation of readers will span a generation of writers.
My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about.
I think that's a hallmark of a really good story that it has readers that it speaks to more than others.
I have always admired the work of Phil Farmer and was glad for the chance to work with him. Readers today may be too young to remember his classics like The Lovers.
I divide all readers into two classes: those who read to remember and those who read to forget.
I try, and I think I succeed, in making my readers feel pity for my psychopaths, because I do.
I just try to write the best story I can, a story I would love to read, and hope that readers feel the same.
