A Quote by Jeffrey Thomas
Endings are the toughest, harder than beginnings. They must satisfy the expectations you have hopefully generated in your reader - not frustrate them, leave the reader grasping at elusive strings.
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The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.
Every reader of your ad is interested, else he would not be a reader. You are dealing with someone willing to listen. Then do your level best. That reader, if you lose him now, May never again be a reader
I never had stock endings. I didn't believe in stock endings. To make the [reader] happy was not my objective, but to make the [reader] say, "Yeah, that's what would happen" - that was my objective.
Compose aloud: poetry is a sound. Never explain- your reader is as smart as you. Your reader is not just any reader, but is the rare one with ears in his head.
Though I am not an avid reader but I like romantic books. Love is a good thing. At times in love, there are disappointments…one must not keep expectations. I like to be positive in love. I believe in happy endings.
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.
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.
Every successful piece of nonfiction should leave the reader with one provocative thought that he or she didn't have before. Not two thoughts, or five - just one. So decide what single point you want to leave in the reader's mind.
If a character is honest with a reader, then (hopefully) that will engage the reader's empathy centers; she'll meet that openness with acceptance, and they'll forge a nourishing and meaningful bond as the book continues.
The first paragraph of my book must get me my reader. The last paragraph of a chapter must compel my reader to turn the page. The last paragraph of my book must ensure that my reader looks out for my next book.
That'?s a way to increase the realism to the reader, if you want to get technical - you leave it [character] vague and you let the reader fill in the blanks with their imagination.
The best critics leave the reader curious to pursue something further, but still to let the reader have his or her own honest, unique opinion.
I think it's very easy to disgust the reader with violence on the page - that's incredibly easy - but it's far harder to make a reader care about a character.
Probably, subliminally, I think of the reader as a kind of collaborator. I don't want to say something for the reader that the reader could have said for himself.
Curiously enough, one cannot read a book; one can only reread it. A good reader, a major reader, and active and creative reader is a rereader.
Aesthetics - rather than reason - shapes our thought processes. First comes aesthetics, then logic. 'Thinking in Numbers' is not about an attempt to impress the reader but to include the reader, draw the reader in, by explaining my experiences - the beauty I feel in a prime number, for example.
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