A Quote by David McCullough
To hold the reader's attention, you have to bring the person who's reading the book inside the experience of the time: What was it like to have been alive then? What were these people like as human beings?
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Well, right now I'm not dead. But when I am, it's like...I don't know, I guess it's like being inside a book that nobody's reading. [...] An old one. It's up on a library shelf, so you're safe and everything, but the book hasn't been checked out for a long, long time. All you can do is wait. Just hope somebody'll pick it up and start reading.
In 1927, if you were stuck with idle time, reading is what you did. It's no accident that the 'Book-of-the-Month Club' and 'The Literary Guild' were founded in that period as well as a lot of magazines, like 'Reader's Digest,' 'Time,' and 'The New Yorker.'
We human beings were never born to read; we invented reading and then had to teach it to every new generation. Each new reader comes to reading with a 'fresh' brain - one that is programmed to speak, see, and think, but not to read.
When I was a kid my primary goal in life was to find a book that was alive. Not alive in the human sense, but like a thing that would send me to a place not otherwise accessible on Earth. This book should have hidden words encrypted beneath the printed ones, so that if I worked hard enough and discovered the code I would somehow end up inside the book, or the book would take on a body and consume me, revealing a secret set of rooms behind the wall in my bedroom, for instance, inside which anything could be.
Reading is sometimes thought of as a form of escapism, and it’s a common turn of phrase to speak of getting lost in a book. But a book can also be where one finds oneself; and when a reader is grasped and held by a book, reading does not feel like an escape from life so much as it feels like an urgent, crucial dimension of life itself.
You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
I sat on the bench by the willows and at my honey bun and read Triton. There are some awful things in the world, it’s true, but there are also some great books. When I grow up I would like to write something that someone could read sitting on a bench on a day that isn’t all that warm and they could sit reading it and totally forget where they were or what time it was so that they were more inside the book than inside their own head. I’d like to write like Delany or Heinlein or Le Guin.
Sometimes a book is better than it ever had a right to be because of the history the reader brings to the reading and because of the methods educators use to bring a particular story alive.
One of the things I love most about second person is that it reminds the reader that they are reading a text. It doesn't allow them to drift into the story and not notice that they are reading a book - a book that has an author.
Why do we read biography? Why do we choose to write it? Because we are human beings, programmed to be curious about other human beings, and to experience something of their lives. This has always been so - look at the Bible, crammed with biographies, very popular reading.
For eighteen centuries every engine of destruction that human science, philosophy, wit, reasoning or brutality could bring to bear against a book has been brought to bear against that book to stamp it out of the world, but it has a mightier hold on the world today than ever before. If that were man's book it would have been annihilated and forgotten hundreds of years ago.
I have always been a reader; I have read at every stage of my life and there has never been a time when reading was not my greatest joy. And yet I cannot pretend that the reading I have done in my adult years matches in its impact on my soul the reading I did as a child. I still believe in stories. I still forget myself when I am in the middle of a good book. Yet it is not the same.
There's no such thing as a folk writer. There's no such thing as somebody who's never read a book before suddenly sitting down one day and writing one. You have to learn how to captivate a reader. Right? And I don't mean you have to go to school for it. But if you're - if you pay attention, you can learn it by reading books. And so I feel like I learned a lot by reading books.
I think that as human beings, we quite naturally take for granted what is similar among human beings and, then, pay attention to what differentiates us. That makes perfect sense for us as human beings.
There are novels that end well, but in between there are human beings acting like human beings. And human beings are not perfect. All of the motives a human being may have, which are mixed, that's the novelists' materials. That's where they have to go. And a lot of that just isn't pretty. We like to think of ourselves as really, really good people. But look in the mirror. Really look. Look at your own mixed motives. And then multiply that.
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