The contract between the author and the reader is a game. And the game . . . is one of the greatest invetions of Western civilization: the game of telling stories, inventing characters, and creating the imaginary paradise of the individual, from whence no one can be expelled because, in a novel, no one owns the truth and everyone has the right to be heard and understood.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader - that's storytelling.
Reading is dreaming. Reading is entering a world of imagination shared between reader and author. Reading is getting beyond the words to the story or meaning underneath.
The subject of the novel is reality liberated from soul. The reader in complete independence presented with a structured process:let him evaluate it, not the author. The façade of the novel cannot be other than stone or steel, flashing electrically or dark, but silent.
The so-called paradoxes of an author, to which a reader takes exception, often exist not in the author's book at all, but rather in the reader's head.
A novel is a conversation starter, and if the author isn't there for the after-party, both the writer and the reader are missing a lot.
For an author just starting out, you've got to deliver the goods every year or sooner or people will forget you or you will lose momentum. There is a contract that exists between author and reader.
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
A novel wouldn't be a book if there weren't some flights of fancy on the part of the author, stopping time to examine things, or to tell a joke.
Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.
For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.
There's a contract that I make between myself, the author, and the reader. I have to figure out how to give the reader certain powers of recognition, or his own knowledge, his own feelings, but I provide them, so we're working together.
A novel can enlarge the empathy and imagination of both its author and its reader, and my experience, that sense of enlargement is most intense when I'm transported beyond the narrow limits of my daily life.
A novel is a conversation between a reader and a writer.