A Quote by Jan Neruda

I know that no reader ever asks a question. A writer must force his favors upon his readers. — © Jan Neruda
I know that no reader ever asks a question. A writer must force his favors upon his readers.
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.
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.
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, in order to proceed, is theoretically trying to predict where his complex skein of language and image has left his reader, who he has likely never met and who is actually thousands of readers.
The Q I loathe and despise, the Q every single writer I know loathes and despises, is this one: 'Where,' the reader asks, 'do you get your ideas?' It's a simple question, and my usual response is a kind of helpless, 'I don't know.'
On some positions, cowardice asks the question, is it expedient? And then expedience comes along and asks the question, is it politic? Vanity asks the question, is it popular? Conscience asks the question, is it right? There comes a time when one must take the position that is neither safe nor politic nor popular, but he must do it because conscience tells him it is right.
On some positions, Cowardice asks the question, 'Is it safe?' Expediency asks the question, 'Is it politic?' And Vanity comes along and asks the question, 'Is it popular?' But Conscience asks the question, 'Is it right?'
Cowardice asks the question, is it safe? Expediency asks the question, is it politic? Vanity asks the question, is it popular? But conscience asks the question, is it right? And there comes a time when one must take a position that is neither safe, nor politic, nor popular, but one must take it because it is right.
In my opinion there are two basic questions that any writer tries to answer. "What is?" is the question non-fiction asks. "What if?" is the question fiction asks. That's the question I'm more interested in.
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 only the basest writer who cannot speak of the sea without talking of "raging waves," "remorseless floods," "ravenous billows," etc.; and it is one of the signs of the highest power in a writer to check all such habits of thought, and to keep his eyes fixed firmly on the pure fact , out of which if any feeling comes to him or his reader, he knows it must be a true one.
Should a writer single out and point his raillery at particular persons, or satirize the miserable, he might be sure of pleasing a great part of his readers, but must be a very ill man if he could please himself.
A writer is someone who tells you one thing so someday he can tell his readers another thing: what he was thinking but declined to say, or what he would have thought had he been wiser. A writer turns his life into material, and if you're in his life, he uses yours, too.
I know I must conceal my sentiments: I must smother hope; I must remember that he cannot care much for me. For when I say that I am of his kind, I do not mean that I have his force to influence, and his spell to attract: I mean only that I have certain tastes and feelings in common with him.I must, then, repeat continually that we are forever sundered: - and yet, while I breathe and think, I must love him.
If the would-be writer studies people in their everyday lives and discovers how to make his characters in their quieter moods interesting to his readers, he will have learned far more than he can ever learn from the constant presentation of crises.
To be a writer, you must be a reader, yet as many as 30 per cent of my writing students were not readers.
This site uses cookies to ensure you get the best experience. More info...
Got it!