A Quote by Leni Zumas

There's relief in white space for the reader. — © Leni Zumas
There's relief in white space for the reader.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
Giving the reader the space to move around and be active, and encourage their active response is important to me. That will connect the reader more to the text.
To a certain extent that happens with all kinds of successful writers and artists and celebrities, but there is also something about the form of memoir that creates an eerie reader space of intimacy that is only "real" in the space of the text.
I'm more than a little suspicious of humor in poems, because I think it can at times be a way of getting a reaction out of a reader, or an audience, that is something closer to relief: i.e., thank god this isn't poetry, but stand-up comedy. Some poets are really funny, but more often poets are fourth rate stand up comics at best. But they benefit from the sheer relief of the audience.
Relief. Excitement and relief. Relief is definitely the key word.
It has often been said there’s so much to be read, you never can cram all those words in your head. So the writer who breeds more words than he needs is making a chore for the reader who reads. That's why my belief is the briefer the brief is, the greater the sigh of the reader's relief is. And that's why your books have such power and strength. You publish with shorth! (Shorth is better than length.)
When you want to touch the reader's heart, try to be colder. It gives their grief as it were, a background, against which it stands out in greater relief.
The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is classic white canvas expanded into three-dimensional space.
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 think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
If you are representing a white body let it be surrounded by ample space, because as white has no colour of its own, it is tinged and altered in some degree by the colour of the objects surrounding it
The writer's job, after all, is not to dictate meaning, but to give the reader enough pieces to create his or her own satisfying meaning. The story is truly finished—and meaning is made—not when the author adds the last period, but when the reader enters the story and fills that little ambiguous space, completing the circuit, letting the power flow through.
I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor.
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.
Space expands or contracts in the tensions and functions through which it exists. Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space vibrates and resounds with color, light and form in the rhythm of life.
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.
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