A Quote by Graham Greene
A writer doesn't write for his readers, does he? Yet he has to take elementary precautions all the same, to make them comfortable.
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As far as what readers can expect with 'Maybe Someday,' I'm not the type of writer who writes to educate or inform my readers. I simply write to entertain them.
The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.
The writer will write in his or her words, but the readers, even when they are not reading you, will take it elsewhere entirely.
A great writer creates a world of his own and his readers are proud to live in it. A lesser writer may entice them in for a moment, but soon he will watch them filing out.
A great writer created a world of his own and his readers are proud to live in it. A lesser writer may entice them in for a moment, but soon he will watch them filing out.
When everyone feels that risks are at their minimum, over-confidence can take over and elementary precautions start to get watered down.
Over and over victims are blamed for their assaults. And when we imply that victims bring on their own fates - whether to make ourselves feel more efficacious or to make the world seem just - we prevent ourselves from taking the necessary precautions to protect ourselves. Why take precautions? We deny the trauma could easily have happened to us. And we also hurt the people already traumatized. Victims are often already full of self-doubt, and we make recovery harder by laying inspectors blame on them.
The analytical writer observes the reader as he is; accordingly, he makes his calculation, sets his machine to make the appropriate effect on him. The synthetic writer constructs and creates his own reader; he does not imagine him as resting and dead, but lively and advancing toward him. He makes that which he had invented gradually take shape before the reader's eyes, or he tempts him to do the inventing for himself. He does not want to make a particular effect on him, but rather enters into a solemn relationship of innermost symphilosophy or sympoetry.
I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.
If you read the whole Vertigo 'Animal Man' series of 89 issues or whatever, each writer has a completely different take on his origin. If you try to put them all together, they contradict one another. I had to pick and choose to make up a new origin that makes sense to new readers.
The most difficult thing about living as a writer is precisely 'having to write.' Pretending to be a writer is easy. Living freely, reading many books, going on frequent trips, cultivating minor eccentricities... but genuinely being a writer is difficult, because you have to write something that will convince both yourself and readers.
I always felt that it was easier to take a funny person and teach them to write television than to take somebody who was a television writer and make them funny.
The mathematics clearly called for a set of underlying elementary objects-at that time we needed three types of them-elementary objects that could be combined three at a time in different ways to make all the heavy particles we knew. ... I needed a name for them and called them quarks, after the taunting cry of the gulls, "Three quarks for Muster mark," from Finnegan's Wake by the Irish writer James Joyce.
[A writer] must try to think clearly, to feel deeply, to write honestly. If he is fortunate he will make a living, but his work will never be anymore essentially clear and deep and honest than he himself is, and he will be judged finally not for how many copies his books have sold, but for what they have done to enrich the lives of their readers, now and in time to come.
Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative.
I thought to myself, 'why not write a bestseller?' In the first place, more people buy them and more people read them. You make more money and it doesn’t take any more time to write a bestseller than it does to write a book nobody buys.
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