A Quote by Dean Acheson

A memorandum is written not to inform the reader but to protect the writer. — © Dean Acheson
A memorandum is written not to inform the reader but to protect the writer.
I think that reading is always active. As a writer, you can only go so far; the reader meets you halfway, bringing his or her own experience to bear on everything you've written. What I mean is that it is not only the writer's memory that filters experience, but the reader's as well.
I think writing and reading are completely synergistic; not necessarily in that one has to be a good reader to be a good writer or vice versa, but that they so inform each other.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
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.
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.
Such reproductions may not interest the reader; but after all, this is my autobiography, not his; he is under no obligation to read further in it; he was under none to begin. A modest or inhibited autobiography is written without entertainment to the writer and read with distrust by the reader.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
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.
The writer who cannot sometimes throw away a thought about which another man would have written dissertations, without worry whether or not the reader will find it, will never become a great writer.
Easy reading is damn hard writing. But if it's right, it's easy. It's the other way round, too. If it's slovenly written, then it's hard to read. It doesn't give the reader what the careful writer can give the reader.
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.
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.
If the writer were more like a reader, he’d be a reader, not a writer. It’s as uncomplicated as that.
Any writer who gives a reader a pleasurable experience is doing every other writer a favor because it will make the reader want to read other books. I am all for it.
Writer’s block is my unconscious mind telling me that something I’ve just written is either unbelievable or unimportant to me, and I solve it by going back and reinventing some part of what I’ve already written so that when I write it again, it is believable and interesting to me. Then I can go on. Writer’s block is never solved by forcing oneself to “write through it,” because you haven’t solved the problem that caused your unconscious mind to rebel against the story, so it still won’t work – for you or for the reader.
A writer is, after all, only half his book. The other half is the reader and from the reader the writer learns.
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