Top 680 Readers Quotes

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.

Normally, I have a lot of alpha readers on my books. These are people that, once I finish a novel, I let them look at it and give me a reader response.

I am, really, a great writer; my only difficulty is in finding great readers.

Understanding how the media actually works is critical. Because editors depend on ignorance and media illiteracy to ply their trade. The fact that many readers expect fact checking, editorial oversight, and ethics actually makes it easier for the media to be lazy.

I decided to take my foot off the pedal with all the detail. I’m sure after ‘Animalia’ and ‘The Eleventh Hour,’ readers thought that’s what to expect from Graeme Base. With ‘The Sign of the Seahorse,’ I took a step away from the puzzle-book genre – that was more of an adventure story.

Writers themselves benefit from all helpful information about their task and methods. Readers, in turn, can have both their understanding and appreciation of literature enhanced by information about the writer’s work.

Each of my books is different from the last, each with its own characters, its own setting, its own themes. As a writer, I need the variety. I sense my readers do, too.

I have the most loyal readers in the world.

I really try to focus on my books and readers.

If you write genre fiction, you follow the rules, and you have to follow them because readers expect that.

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.

My father was an engineer – he wasn’t literary, not a writer or a journalist, but he was one of the world’s great readers. Every two weeks, he’d take me to our local branch library and pull books off the shelf for me, stacking them up in my arms – ‘Have you read this? And this? And this?’

Having a book censored means something. It means you have deeply offended one or more people who felt they needed to protect unsuspecting readers from your inflammatory words, thoughts, and images.

I think, above all, the characters in my novels feel universal to the readers.

I’ve always said that my favorite aspect of online political writing is how interactive and collaborative it is with one’s readers: that has always been, and always will be, crucial in so many ways to what I do.

If significant amounts of time go by without suspenseful action – which is often most powerfully motivated by backstory – the story loses momentum, and readers lose interest.

I’m not interested in forcing my beliefs on my readers.

That first meeting – the one where the hero and heroine start the slow burn that takes the whole story to turn into true love – is the single most important part of the whole book. Nail it, and you’ve won yourself readers.

As a lifelong romance reader, it’s always satisfying to get to talk to other romance readers!

Point-of-view is a matter that readers rarely pay attention to, yet it’s one of the most important story decisions an author makes.

As a writer, you should care about reluctant readers. You want these kids to feel like books are amazing and cool and that they’re an escape.

Readers want to have the confidence that you understand the era in which the book is set, so for ‘The Perfumer’s Secret,’ I needed to know everything about the First World War from a French perspective. I had to understand those people and that town in 1914.

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.

Through my fiction, I make mainstream readers see the new Americans as complex human beings, not as just ‘The Other.’

As writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note.

I love readings and my readers, but the din of voices of the audience gives me stage fright, and the din of voices inside whisper that I am a fraud, and that the jig is up. Surely someone will rise up from the audience and say out loud that not only am I not funny and helpful, but I’m annoying, and a phony.

I loved ‘Lobo’ in the ’90s, but I think that character is hard to connect with, especially for new readers.

What I find, particularly with young writers and readers, is that they don’t want complicated feelings.

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 think more people are going to continue reading YA as well as reading other books because they have learned that they can find books there which they will truly love: a teenage protagonist is close enough to adult so readers of whichever age can sympathise and empathise with them.

Readers want a story, not a pattern. It’s the specifics of a story that make it really ping our various reader radars.

I’m trying to make the readers feel as if he or she is right there in the conversation, and so I don’t try to manipulate it too much.

I’m always astonished by the confidence my readers put in me.

‘NYT Opinion’ offers our readers what we think are the most stimulating and interesting points of view you can find anywhere.

I’ve come to accept who my readers turn out to be, rather than having some sort of demographic target.

I think art, especially literature, has the particular power to immerse the viewer or reader into another world. This is especially powerful in literature, when a reader lives the experience of the characters. So if the characters are human and real enough, then readers will feel empathy for them.

I write for a certain sphere of readers in the United States who on average watch seven and a half hours of multichannel television per day.

Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you’re connecting with them on a personal level.

High school teachers who want to get reluctant readers turned around need to give the students some say in the reading list. Make it collaborative: The students will feel ownership, and everyone will dig in.

I’m just trying to keep things rich for me creatively and for the readers who follow me.

Remember, if you don’t feel passionate about the characters and subject of your story, your readers won’t either.

In a culture defined by shades of gray, I think the absolute black and white choices in dark young adult novels are incredibly satisfying for readers.

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.

My relationship with my readers is somewhat theatrical. One of the main things I try to do in my work is delight my readers.

I wanted to make an explicitly educational comic that taught readers the concepts I covered in my introductory programming class. That’s what ‘Secret Coders’ is. It’s both a fun story about a group of tweens who discover a secret coding school, and an explanation of some foundational ideas in computer science.

A work survives its readers; after a hundred or two hundred years, it is read by new readers who impose on it new modes of reading and interpretation. The work survives because of these interpretations, which are, in fact, resurrections: without them, there would be no work.

Good crime writing holds up a mirror to the readers and reflects in a darker light the world in which they live.

As much as I encourage communication with my readers, I don’t want reviews from them, simply because I don’t need to be hamstrung in the middle of working on something.

I think readers’ imaginations are far more powerful than anything you can put on a page and, therefore, can conjure up graphic images for themselves, which I think you just have to nudge them towards.

By and large, the critics and readers gave me an affirmed sense of my identity as a writer. You might know this within yourself, but to have it affirmed by others is of utmost importance. Writing is, after all, a form of communication.

I think anytime you’re writing to the middle grades, you’re writing to young readers who are trapped in a number of ways between two worlds: between childhood and adulthood, between their friends and their parents.

Look realistically at espionage thrillers again. They’re not only alive, readers are excited about them.

I still have a lot of military contacts, and friends and readers who’ve served or are serving, and they react really strongly to G.I. Joe. I’ve lost count of the number who’ve said, ‘Oh, I just loved it as a kid. I had all the figures; it really made me think.’