A Quote by Jaume Cabre

Along the way, about certain things, you realize, "I don't know anything about this." You think, "Is this going to sound ridiculous?" So I pestered more than a hundred different people over the course of the book. And when I finished the book I gave it to six or seven trusted readers, who are always the same, but I also gave it to a brother of mine who's a doctor and I asked him to read it, and he was very helpful. It's good to have a group of trusted readers. As my kids have grown up, they've joined this group.
I think I write for reluctant readers. Of course I want everyone to enjoy my books, but if the kids in the back row who normally don't pick up a book are engaged with what I'm writing, along with the kids who are big readers anyway, then I really feel like I've done my job.
I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.
There are infimal readers, readers who want to read the same book over and over, but will never read the same book twice.
When I'm writing, I'm thinking, "Well, this might be a book that I'll always be happy with, and certainly readers will be happy with." But another part of me knows that when I'm past the stage of writing, the book is gonna have good things about it, bad things about it - probably more bad than good. I just know that. That's who I am.
There are many readers of the book, who don't know anything about the authors and the artists. There is more than one author. It doesn't matter, if you can't make the reader dive into the story and surround him with that environment and those characters. That's an experience that lasts longer than figuring out who did what. I think that's what makes our working relationship better, it helps us to make a book that feels unique and not like different voices.
A reader is entitled to believe what he or she believes is consonant with the facts of the book. It is not unusual that readers take away something that is spiritually at variance from what I myself experienced. That's not to say readers make up the book they want. We all have to agree on the facts. But readers bring their histories and all sets of longings. A book will pluck the strings of those longings differently among different readers.
I seem to have three categories of readers. The first is nonbelievers who are glad that I am reading the Bible so they don't have to bother. The second group, which is quite large, is very Biblically literate Jews. And the third, which is also very large, is Christians, most of them evangelical. The evangelical readers and the Jewish readers have generally been very encouraging, because they appreciate someone taking the book they love so seriously, and actually reading it and grappling with it.
Digression is my passion. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten, and that are kind of surprising. The problem is, how do you pare stories away so that the book doesn't become a distracting jumble of material, and readers lose focus? In my experience, there's really only one way to do that. I pack it all in with the rough draft, then count on myself and my trusted readers to tell me what's good and what's not good.
Attending a book group is always a salutary experience for a writer. There's no guarantee that the people there will have enjoyed your book, and, as anyone who has taken part in a book group will know, half the fun is in ripping a book you haven't liked to shreds.
I get letters from two kinds of readers. History buffs, who love to read history and biography for fun, and then kids who want to be writers but who rarely come out and say so in their letters. You can tell by the questions they ask - How did you get your ?rst book published? How long do you spend on a book? So I guess those are the readers that I'm writing for - kids who enjoy that kind of book, because they're interested in history, in other people's lives, in what has happened in the world. I believe that they're the ones who are going to be the movers and shakers.
I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun.
I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun
I say at the very end of "Winter Journal" that I do dream about my father often. I think I have a tremendous compassion for him, which has grown over the years. A certain kind of pity for him also in that he was so unrealised as a human being, so dogged, and so shut-off from people in many ways. You know, I've been writing another book, and it's another non-fiction autobiographical work, kind of a compliment to "Winter Journal", and it's just finished.
I don't think anything I've written has been done in under six or eight drafts. Usually it takes me a few years to write a book. 'World's Fair' was an exception. It seemed to be a particularly fluent book as it came. I did it in seven months. I think what happened in that case is that God gave me a bonus book.
People will ask me, "How do you approach writing books for young readers differently than for adults?" My answer is always: I don't change anything about the story itself. I'm going to tell kids the way things really were. What I don't do - and this is the only thing I do differently in writing for kids - is that I don't revel in the gory details. I allow readers to fill in the details as necessary. But I don’t force kids to have to digest something they’re not mature enough or ready for yet. If they are, they can fill in the details even better than I could, just with their imaginations.
People are used to streaming and binge-watching. When they see an author they like, if there's only one book, even if they like the book, they're going to forget about you. The way to keep you in their mind and to get you to become a habit for these readers is you have to have a lot of product out there for them to read.
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