A Quote by Alastair Reynolds

When you're writing stuff that's already clotted with neologisms and trying to get across fairly abstruse concepts, you're already putting a heavy burden on the reader.
I'm speaking to someone I'm trying to get to fall in love with me. I'm trying to speak intimately to one person. That should be clear. I'm not speaking to an audience. I'm not writing for the podium. I'm just writing, trying to write in a fairly quiet tone to one other reader who is by herself, or himself, and I'm trying to interrupt some silence in their life, which is utterance.
You really burden the reader if you put things in but, "Oh, it's not interesting, but I'll put it in anyway." Then the reader's going to think, like, "Mmm... no thanks." So the thing is to cut all that stuff out before its published.
The greatest sin of the academic left is that it has become fundamentally aristocratic, writing in bizarre jargon that makes cliches seem abstruse. If you can't explain your ideal to a fairly intelligent 12-year-old, it's probably your own fault.
And I was troubled by the heavy-handed prose of so much psychoanalytic writing, which seemed drowned in its own concepts.
I see philosophy as a fairly abstract activity, as concerned mainly with the analysis of criticism and concepts, and of course most usefully of scientific concepts.
If I'm going to be a pessimist, then I should just stop writing for young people because that's too heavy a burden to put on young readers. But also, I get to meet with people who have waded through horrible things, and they get up every morning, and they try to do their best.
There are things that are not spoken about in polite society. Very quickly in most conversations you'll reach a moment where someone goes, 'Oh, that's a bit heavy,' or 'Eew, disgusting.' And literature is a place where that stuff goes; where people whisper to each other across books, the writer to the reader. I think that stops you feeling lonely – in the deeper sense, lonely.
It took us two years to get our first real gig. That was a big dream. We ended up booking a lot of our own gigs and putting on a lot of our own shows. We were trying to get our actual music across, trying to make a connection there.
I just love details; I love trying to make the reader smell what I was smelling at the time and see what I was seeing. Textures, too - all that kind of stuff is probably my strong suit as far as my writing goes, I would say.
We can easily manage if we will only take, each day, the burden appointed to it. But the load will be too heavy for us if we carry yesterday's burden over again today, and then add the burden of the morrow before we are required to bear it.
Obamacare is a disaster. You have to remember, Obamacare doesn't work. So we are putting in a wonderful plan. It statutorily takes a while to get. We're gonna be putting it in fairly soon.
We waste a lot of time and a lot of talent trying to write for the common reader, whom we will never meet. Instead we should be writing for our ideal reader.
You find when you're writing a detective story that you're actually not trying to solve anything. You're trying to stop the reader from solving the puzzle.
Good writing is good writing. In many ways, it’s the audience and their expectations that define a genre. A reader of literary fiction expects the writing to illuminate the human condition, some aspect of our world and our role in it. A reader of genre fiction likes that, too, as long as it doesn’t get in the way of the story.
I like every part [of the film process ] except the business and admin stuff. The initial idea. Writing. Re-writing. Casting. Directing, Editing. If I had to chose I'd say writing, followed by putting music on the picture. That is magical.
For me, the audition process always starts with a few questions: Who am I? What am I trying to get across? Why am I trying to get that across? Where am I emotionally? It's a lot to do with my foundation, and I go from there.
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