A Quote by Arthur Eddington
The understanding between a non-technical writer and his reader is that he shall talk more or less like a human being and not like an Act of Parliament. I take it that the aim of such books must be to convey exact thought in inexact language... he can never succeed without the co-operation of the reader.
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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.
Before you can become a writer, you have to be a reader, and a reader of everything, at that. To the best of my recollection, I became a reader at the age of 10 and have never stopped. Like many authors, I read all sorts of books all the time, and it is amazing how the mind fills up.
I have a total responsibility to the reader. The reader has to trust me and never feel betrayed. There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers. And it's appropriate, because the writer is getting paid and the reader isn't.
I would also hope that readers receive a larger understanding, or a different understanding, of what it means to be human, than they might have had before. We suffer from being quick to judge, quick to make excuses for ourselves and others, and I would like the reader to feel that we are all, more or less, in a similar state as we love and disappoint one another, and that we try, most of us, as best we can, and that to fail and succeed is what we do.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
Without books I would not have become a vivacious reader, and if you are not a reader you are not a writer.
I like to be aware of a book as a piece of writing, and aware of its structure as a product of mind, and yet I want to be able to see the represented world through it. I admire artists who succeed in dividing my attention more or less evenly between the world of their books and the art of their books . . . so that a reader may study the work with pleasure as well as the world that it describes.
Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.
If the writer were more like a reader, he’d be a reader, not a writer. It’s as uncomplicated as that.
reading is not a passive act. It's a creative act. It's a relationship between the writer and a person the writer will probably never meet. I think it's very wrong to write in a way that leaves no room for the reader to maneuver. I don't want to get in the way. What I'd really like to do is to perform the Indian Rope Trick - go higher and higher and eventually disappear.
Reading, therefore, is a co-production between writer and reader. The simplicity of this tool is astounding. So little, yet out of it whole worlds, eras, characters, continents, people never encountered before, people you wouldn’t care to sit next to in a train, people that don’t exist, places you’ve never visited, enigmatic fates, all come to life in the mind, painted into existence by the reader’s creative powers. In this way the creativity of the writer calls up the creativity of the reader. Reading is never passive.
I'm a writer because I love reading. I love the conversation between a reader and a writer, and that it all takes place in a book-sort of a neutral ground. A writer puts down the words, and a reader interprets the words, and every reader will read a book differently. I love that.
Of course, it may be that the arts of writing and photography are antithetical. The hope and aim of a word-handler is that he maycommunicate a thought or an impression to his reader without the reader's realizing that he has been dragged through a series of hazardous or grotesque syntactical situations. In photography the goal seems to be to prove beyond a doubt that the cameraman, in his great moment of creation, was either hanging by his heels from the rafters or was wedged under the floor with his lens in a knothole.
How often I have tried to tell writing students that the first thing a writer must do is love the reader and wish the reader well. The writer must trust the reader to be at least as intelligent as he is. Only in such well wishing and trust, only when the writer feels he is writing a letter to a good friend, only then will the magic happen.
I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.
I think of myself primarily as a reader, then also a writer, but that's more or less irrelevant. I think I'm a good reader, I'm a good reader in many languages, especially in English, since poetry came to me through the English language, initially through my father's love of Swinburn, of Tennyson, and also of Keats, Shelley and so on - not through my native tongue, not through Spanish. It came to me as a kind of spell. I didn't understand it, but I felt it.
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