A Quote by Iain Pears
And a more foolish notion can scarcely be imagined, it being obvious that the reader is only informed of what the writer wishes him to know, and is thus seduced into believing almost anything.
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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.
Man wishes to be confirmed in his being by man, and wishes to have a presence in the being of the other…. Secretly and bashfully he watches for a YES which allows him to be and which can come to him only from one human person to another.
I think a play can do almost anything, because it's also a static form, much more so than in a movie. In a movie you can move the scenery, you can do anything any way. A cartoon, happens in a limited amount of space and a limited amount of time, and you can only get so many words before the reader's gonna get impatient. All of these forms that I enjoy are in a sense a slight of hand, where you have to suggest much more than you really show. You have to, in a sense, seduce the reader and trick the reader or the audience into going with you.
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.
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.
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.
There are three big things going for The Scorpio Races: first, it is set on a beautiful but wild island in the middle of the cold Atlantic Ocean. That would've seduced me as a teen reader. Second, It is full of beautiful but killer horses being trained for a dangerous race. Actually, that would've seduced me as a teen reader as well. At third it involves a very repressed love story with a very Mr. Darcy-like love interest.
If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
I grew up in San Francisco. And so I'm informed in a certain kind of way about, you know, believing in democracy and believing in America. And I'm a very ardent patriot.
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.
It seems obvious to me that the notion of God has never been anything but a kind of ideal projection, a reflection upward of the human personality, and that theology never has been and never can be anything but a more and more purified mythology.
If the writer were more like a reader, he’d be a reader, not a writer. It’s as uncomplicated as that.
I'm not someone who from a young age imagined myself being a writer or had dreams of being a novelist or anything like that, but I was always very driven by ideas and by values, and that is the reason I got into journalism.
I've been a Marvel reader since I was just a kid, and I've dreamed of being a Marvel writer for almost as long, so being tapped to officially join the team is truly something.
A writer is, after all, only half his book. The other half is the reader and from the reader the writer learns.
My sentences got sharper and my stories more efficient, and I gradually learned to imagine the reader more clearly and to empathize with that imagined reader, which is a crucial part of learning to tell stories.
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