A Quote by Stephen King

Description is what makes the reader a sensory participant in the story. — © Stephen King
Description is what makes the reader a sensory participant in the story.
If a reader comes across a story that makes them cry, you can be sure that the writer felt every single thing that makes the reader cry.
The experience of reading a printed comic book will never change, but now, thanks to the digital age, there are many different ways to enjoy the same story. Digital comic books, of course, can be interactive in many different ways, allowing the reader to feel like a participant in 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.
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.
The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.
In the dream state, the only essential difference from waking is the relative absence of sensory input, which makes dreaming a special case of perception without sensory input.
One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.
Folk tales are my favourite form of story telling. They not only just adjust the reader according to the world it is introducing the reader to, but also enchant the reader with its mysterious and magical characters.
The greatest honor that can be paid to the work of art, on its pedestal of ritual display, is to describe it with sensory completeness. We need a science of description. Criticism is ceremonial revivification.
Literature is about telling stories. Now, the gift of literature is that, in some lucky cases, reading a novel or a story makes the reader more curious, more open-minded. It may open a third eye in the middle of the reader's forehead.
In many cases when a reader puts a story aside because it 'got boring,' the boredom arose because the writer grew enchanted with his powers of description and lost sight of his priority, which is to keep the ball rolling.
What makes a story is how well it manages to connect with the reader, the visceral effect it has.
The good ending dismisses us with a touch of ceremony and throws a backward light of significance over the story just read. It makes it, as they say, or unmakes it. A weak beginning is forgettable, but the end of a story bulks in the reader's mind like the giant foot in a foreshortened photograph.
I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that "reader" is actually just me, if I had never read the story before.
The moment you start dictating content/themes/story vs. allowing the player to be a participant in the story and carve their own path, you're doing the player a disservice.
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
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