Zitat des Tages über Leser / Readers:
Don't be afraid to make a mistake, your readers might like it.
Children's books are often seen as the poor relation of literature. But children are just as demanding as adult readers, if not more so. I should know. I'm a children's writer myself.
I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.
Critics have a problem with sentimentality. Readers do not. I write for readers.
I have long felt that it is readers and viewers of conservative media who could benefit from a more balanced discussion of what is at stake in our policy and the actions of our government.
Among the letters my readers write me, there is a certain category which is continuously growing, and which I see as a symptom of the increasing intellectualization of the relationship between readers and literature.
Readers are paramount. I live to write books for them.
This will surprise some of your readers, but my primary interest is not with computer security. I am primarily interested in writing software that works as intended.
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.
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 try to write stories that are thrilling and full of mystery and funny all at the same time, stories that raise moral questions but come up with very few moral answers, stories that emotionally touch readers through the characters.
My readers at that time were still men of letters; but there had to be other people waiting to read my poems.
Literature overtakes history, for literature gives you more than one life. It expands experience and opens new opportunities to readers.
For me it's more important that I outline all the facets of a controversial issue and let the reader make up his or her mind. I don't care if readers change their minds, but I would like readers to ask themselves why their opinion is what it is.
I think, in a written novel, the way in which you play with the readers' emotion or the way in which you engage the readers' emotions can be very indirect. You could come at it through irony or comedy, etcetera, and you could capture people's sympathies and feelings kind of by stealth if you like.
By helping readers understand these mechanics, I hope they will appreciate why freedom is for everyone, why it is essential for our security and why the free world plays a critically important role in advancing democracy around the globe.
I have written 20 books, and each one is like having a baby. Writing is not easy; some people want to write books but just can't put a story together. I can put together a story that interests both me and my readers.
Readers appreciate the truth. Why say, 'Some think a situation is a mess?' Based on my reporting, if a situation is a mess, then I say that. The truth is always what reporters tell each other when they get back to the newsroom.
You need books to read and readers for books.
I'm a very senses-oriented person, and I want to bring readers in on the level of the senses, so they can experience another culture and another place.
I can understand the natural anxiety of readers when waiting for another installment of a favourite series, but I think it is much more important to get a book right than it is to have it appear on time.
I think that readers believe that a writer becomes friends with the people he interviews and writes about - and I think there are some writers who do that - but that hasn't happened to me. I do think it's dangerous because then you write the article to please them, which is a terrible error.
The kids I talk to are readers, and the craziest, the most dedicated readers you will ever see.
Some readers allow their prejudices to blind them. A good reader knows how to disregard inappropriate responses.
We binge on instant knowledge, but we are learning the hazards, and readers are warier than they used to be of nanosecond-interpretations of Supreme Court decisions.
Put simply, I want to treat my readers as partners and not crooks. There is no future in calling your most active promoters crooks.
I wanted readers to be genuinely unsure as to whether she's telling the truth or lying. It meant making her partly sympathetic, and partly unsympathetic, which wasn't easy.
As a writer, one of the things we all learned from the movies was a kind of compression that didn't exist before people were used to watching films. For instance, if you wanted to write a flashback in a novel, you once had to really contextualize it a lot, to set it up. Now, readers know exactly what you're doing. Close-ups, too.
I don't write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.
As a writer, I always try as hard as possible to get out of the way of the story, so maybe that's the most important thing my readers should know - I'm all about the story, not about the ego.
There's something about the idea of writing, and thinking about writing as a form of prayer - the way as a writer you call out into the world and throw your words into the world. You're not praying to a god, but you're almost conjuring a reader to arrive. That's what books do: they're an invitation to readers.
I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.
I think it's one of the Times' problems that they haven't made it clear to readers what various formats mean.
I have heard from many readers since 'The Girl in the Blue Beret' came out. The story of my airline pilot, former B-17 bomber pilot Marshall Stone, on his search to find the people who helped him during World War II has struck a chord.
If you read the whole Vertigo 'Animal Man' series of 89 issues or whatever, each writer has a completely different take on his origin. If you try to put them all together, they contradict one another. I had to pick and choose to make up a new origin that makes sense to new readers.
Readers have always read high and low, and to fight that urge is to fight the freedom inherent in the act of reading itself. The only arguments that have any traction, as best as I can see it, are about whether the genre classification of 'young adult' should exist at all.