A Quote by Raymond Carver

When a reader finishes a wonderful story and lays it aside, he should have to pause for a minute and collect himself. — © Raymond Carver
When a reader finishes a wonderful story and lays it aside, he should have to pause for a minute and collect himself.
Indeed, 'The Second Plane' is such a weak, risible, and often objectionable volume that the reader finishes it convinced that Mr. Amis should stick to writing fiction and literary criticism, as he's thoroughly discredited himself with these essays as any sort of political or social commentator.
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.
There is something quintessentially American about the USWNT. Last-minute, dramatic finishes and technical finesse aside, the spirit of the program reflects a determination and perseverance that resonates with the deeply held belief that with hard work, anything is possible.
It is my feeling that a story is not finished until it is read, and that the reader finishes it through his or her life experience, prejudices, worldview and thoughts.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.
'One Minute Mentoring' is written in the parable style Spencer Johnson and I popularized in 'The One Minute Manager.' It's an entertaining story about the mentorship between a young salesperson, Josh, and a seasoned executive named Diane. As the characters learn about mentoring, so does the reader.
Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there which is usually something both more and less than the poet planned.
You used to need a big camera to direct, but now, anyone with an iPhone can tell a story visually. You can film something. You can start off with a five-minute story, then a 10-minute story.
Characters who are absolutely sure about what they do, who plunge ahead without fear, are not that interesting. We don’t go through life that way. In reality, we have doubts just like everyone else. Bringing your Lead’s doubts to the surface in your plot pulls the reader deeper into the story, and this is an excellent way to coax the reader to lose himself in the story world you’re about to create.
In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
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.
A writer only begins a book. A reader finishes it.
The only story that seems worth writing is a cry, a shot, a scream. A story should break the reader's heart.
This is what the Sabbath should feel like. A pause. Not just a minor pause, but a major pause. Not just lowering the volume, but a muting. As the famous rabbi Abraham Joshua Heschel put it, the Sabbath is a sanctuary in time.
Every reader finds himself. The writer's work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.
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