A Quote by Patrick O'Brian

I've never set out to seduce my reader. I don't see him at all clearly. — © Patrick O'Brian
I've never set out to seduce my reader. I don't see him at all clearly.
A piece of writing has to seduce the reader; it has to suspend disbelief and earn the reader's trust.
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
The main thing I try to do is write as clearly as I can. Because I have the greatest respect for the reader, and if he's going to the trouble of reading what I've written -- I'm a slow reader myself and I guess most people are -- why, the least I can do is make it as easy as possible for him to find out what I'm trying to say, trying to get at. I rewrite a good deal to make it clear.
The author always loads his dice, but he must never let the reader see that he has done so, and by the manipulation of his plot, he can engage the reader's attention so that he does not perceive the violence that has been done to him.
The gentle reader will never, never know what a consummate ass he can become until he goes abroad. I speak now, of course, in the supposition that the gentle reader has not been abroad, and therefore is not already a consummate ass. If the case be otherwise, I beg his pardon and extend to him the cordial hand of fellowship and call him brother.
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.
He'll never be Jordan. This clearly takes him out of the conversation. He can win as much as he wants to.
Many men start being friendly with women because they are trying to seduce them. I'm not trying to seduce them. I just like hanging out with them.
When I got back to my cell, I said, 'God, I asked you to set me free, not kill me.' God spoke to me and said, 'Andrew, I have set you free from the inside out, I have given you life!' From that moment on I haven't stopped worshipping Him. I had never sung before, never led worship, until Jesus set me free.
I enjoy being a woman. It's what I learned from years of experience in modeling. You learn how to seduce; how to be sensual, how to play. It's very important for a woman, I think. But it's not by beauty that you seduce. It's a meeting - it depends on the image the other reflects back to you, how they see you and make you feel.
Reading, therefore, is a co-production between writer and reader. The simplicity of this tool is astounding. So little, yet out of it whole worlds, eras, characters, continents, people never encountered before, people you wouldn’t care to sit next to in a train, people that don’t exist, places you’ve never visited, enigmatic fates, all come to life in the mind, painted into existence by the reader’s creative powers. In this way the creativity of the writer calls up the creativity of the reader. Reading is never passive.
God often has to untangle some things in you to help you see Him. Even if this process takes months, it's not because he is waiting to see how sincere you are; it's because he is working deep inside you to sort out those things that crowd him out of your heart and set your focus on your own efforts or your own failures.
I don't separate Robert DeNiro's comedy from the serious stuff. The one thing I realize working with him in all of his work, is that he doesn't do anything unless something happens to him in scenes - unless something happens to make him react. He never came in with a set idea of how he was going to do it, he never came in with guns blazing. He would just show up and wait to see what happened.
You must see your goals clearly and specifically before you can set out for them. Hold them in your mind until they become second nature.
The analytical writer observes the reader as he is; accordingly, he makes his calculation, sets his machine to make the appropriate effect on him. The synthetic writer constructs and creates his own reader; he does not imagine him as resting and dead, but lively and advancing toward him. He makes that which he had invented gradually take shape before the reader's eyes, or he tempts him to do the inventing for himself. He does not want to make a particular effect on him, but rather enters into a solemn relationship of innermost symphilosophy or sympoetry.
You got men who can't hold peace and women who can't control their tongues. The rich seduce the poor, and the old seduce the young.
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