A Quote by Amy Tan
We all become different readers in how we respond to books, why we need them, what we take from them. We become different in the questions that arise as we read, in the answers that we find, in the degree of satisfaction or unease we feel with those answers...In the hands of a different reader, the same story can be a different story.
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I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
Some of the large [municipalities] in Quebec can contain within them most of the answers to their own practical problems. And so lots of different possibilities for doing things in a practical and different way become available.
The experience of reading a printed comic book will never change, but now, thanks to the digital age, there are many different ways to enjoy the same story. Digital comic books, of course, can be interactive in many different ways, allowing the reader to feel like a participant in the story.
Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.
Sometimes I am a different character in different languages. I have different enjoyment from them. Sometimes different answers come out of me. Like, I didnt even know that about me. I get to know myself through different languages, actually.
Sometimes I am a different character in different languages. I have different enjoyment from them. Sometimes different answers come out of me. Like, I didn't even know that about me. I get to know myself through different languages, actually.
We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.
The South: What is this place? What's different about it? Is it different anymore? Good questions. Old ones, too. People have been asking them for decades. Some of us even make our living by asking them, but we still don't agree about the answers.
Historically different groups find different things in each comics, as with *X-Men*. Gay readers find parallels to living a closeted lifestyle or choosing to come out and be openly gay. Black readers find a relevance to their lives growing up in America as a black guy. Picked-on brainy kids find a metaphor for being an outsider. It's a simple enough, and direct enough metaphor that it has different shades for different people. And so each reader to some degree gets out of it what they bring to it. That's one of the things I think that makes *X-Men* such a strong property.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
We become not a melting pot but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams.
I think actors are very obsessed about looking different and behaving differently, but all people need is just a different film. They don't want a different you; they want a different story.
Songs hold different memories for different people and the great ones are the ones that become a part of you and your story.
America is full of readers of all different sorts who love books in many different ways, and I keep meeting them. And I think editors should look after them, and make less effort to please people who don't actually like books.
I keep telling this story - different people, different places, different times - but always you, always me, always this story, because a story is a tight rope between two worlds.
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
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