A Quote by Paolo Bacigalupi
My conception of my ideal reader has expanded quite a lot as I've matured: Ultimately when I think of my ideal reader, it's someone who's not sitting down with the intention of automatically arguing with the book: somebody who's going to give me enough slack to tell my story.
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My ideal reader is somebody who trips over a copy of my book on the sidewalk; then they pick it up and read as they walk. Somebody who comes in knowing nothing, caring nothing, but responds to the story.
Don't try to anticipate an ideal reader - or any reader. He/she might exist - but is reading someone else.
My ideal reader is me. And yes, my ideal reader comes with me and is forgiving.
I'm writing for my ideal reader, for somebody who's willing to take the time, who's willing to get lost in a new world, who's willing to do their part. But then I have to do my part and give them a sound and a voice that they believe in enough to keep going.
We waste a lot of time and a lot of talent trying to write for the common reader, whom we will never meet. Instead we should be writing for our ideal reader.
There is no ideal length, but you develop a little interior gauge that tells you whether or not you're supporting the house or detracting from it. When a piece gets too long, the tension goes out of it. That word?tension?has an animal insistence for me. A piece of writing rises and falls with tension. The writer holds one end of the rope and the reader holds the other end?is the rope slack, or is it tight? Does it matter to the reader what the next sentence is going to be?
In my couple of books, including Going Clear, the book about Scientology, I thought it seemed appropriate at the end of the book to help the reader frame things. Because we've gone through the history, and there's likely conflictual feelings in the reader's mind. The reader may not agree with me, but I don't try to influence the reader's judgment. I know everybody who picks this book up already has a decided opinion. But my goal is to open the reader's mind a little bit to alternative narratives.
You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.
One key to the distinction between mystery and suspense writing involves the relative positions of hero and reader. In the ideal mystery novel, the readers is two steps behind the detective.... The ideal suspense reader, on the other hand, is two steps ahead of the hero.
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.
My ideal reader is somebody who reads my poems out loud.
That ideal reader suffering from an ideal insomnia.
For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.
Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.
With the second book, I didn't have an ideal reader in mind, as it developed quite out of my control, this detective novel of why am I so full of anger, why did I pick up a guitar when I was poor and uneducated.
My ideal relationship with the reader is that at certain points they will have said, 'I'm finding this quite tough, but I'm going to hang in there,' then at the end they will say, 'Oh God, I'm glad I hung on, it was so worth it.'
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