A Quote by Marlon James

What I find, particularly with young writers and readers, is that they don't want complicated feelings. — © Marlon James
What I find, particularly with young writers and readers, is that they don't want complicated feelings.
To me, the solidarity of readers is far more important than the solidarity of writers, particularly since readers in fact find ways to connect over a book or books, whatever they may be.
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.
The annual award of $5,000 goes to an author for a meritorious book published in the previous year for children or young adults. Scott O'Dell established this award to encourage other writers--particularly new authors--to focus on historical fiction. He hoped in this way to increase the interest of young readers in the historical background that has helped to shape their country and their world.
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.
Only a very specific kind of writer keeps their reader in mind while working. Such writers don't want to irk their readers; they don't want to challenge their readers; they want to produce exactly what their reader expects them to produce. I'm not like that.
People forget that writers start off being readers. We all love it when we find a terrific read, and we want to let people know about it.
Many people, especially young people, would like to be more independent and on their own. But it is very difficult and they suffer from feelings of isolation. I think that is one reason why young readers support my work.
Young writers find their first audience in little magazines, and experimental writers find their only audience there.
I Am... I Said is a very complicated song and its complicated probably because my feelings were very complicated when I wrote it.
I find it always pleasurable talking with young people, particularly those aspiring to be writers, out of nostalgia, and because I've always felt that we oldies can learn so much from them and draw from them inspiration in our flagging and rickety years.
I am always interested in why young people become writers, and from talking with many I have concluded that most do not want to be writers working eight and ten hours a day and accomplishing little; they want to have been writers, garnering the rewards of having completed a best-seller. They aspire to the rewards of writing but not to the travail.
But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.
There are writers, and there are readers who want something more. They want to get at the grist of life.
It really matters to writers to find and treasure readers, all the more when they're on the other side of the world.
I've grown up on a diet of metaphors. If young writers would find those writers who can give them metaphors by the bushel and the peck, then they'll become better writers - to learn how to capsualize things and present them in metaphorical form.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
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