A Quote by Nella Larsen

Authors do not supply imaginations, they expect their readers to have their own, and to use it — © Nella Larsen
Authors do not supply imaginations, they expect their readers to have their own, and to use it
Authors do not supply imaginations.
Are my characters copies of people in real life? ... Don't ever believe the stories about authors putting people into novels. That idea is a kind of joke on both authors and readers. All the readers believe that authors do it. All the authors know that it can't be done.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
I truly hope readers learn to believe in their imaginations and their ability to shape their own lives. That's what 'The Girl Who Smiled Beads' means to me.
History buffs expect historical background in historical fiction. Mystery readers expect forensics and police procedure in crime fiction. Westerns - gasp - describe the West. Techno-thriller readers expect to learn something about technology from their fiction.
Readers themselves, I think, contribute to a book. They add their own imaginations, and it is as though the writer only gave them something to work on, and they did the rest.
I loved stories as a kid, both being read to me and enjoying on my own. All these stories inspired my imagination, and that's what I have always aimed at doing for my readers: ignite their imaginations.
In practice, the copyright system does a bad job of supporting authors, aside from the most popular ones. Other authors' principal interest is to be better known, so sharing their work benefits them as well as readers.
We decided we wanted the site to provide readers with fresh new stories to enjoy between major book releases by their favorite authors while allowing those same authors to flex their creative muscles.
It is well known that in the Communist countries, and especially in my own, Albania, readers were often called upon to demonstrate their vigilance by detecting and denouncing the 'errors' of authors.
Our imaginations are strong as children. Sometimes they get shoved aside, these imaginations. They get dusty and mildewed with age. The imagination is a muscle that has to be put to use or it shrivels.
Believing in fate has probably always arisen in part because of the delights and terrors of storytelling. We have to realize--to learn--that in life we are not the readers but the authors of our own narratives.
Writers and painters alike are in the business of consulting their own imaginations, and stimulating the imaginations of others. Together, and separately, they celebrate the absolute mystery of otherness.
I expect that my readers have been to Europe, I expect them to have some feeling for a foreign language, I expect them to have read books - there are a lot of people like that! That's my audience.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
Teenage readers also have a different relationship with the authors whose work they value than adult readers do. I loved Toni Morrison, but I don't have any desire to follow her on Twitter. I just want to read her books.
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