A Quote by W. Somerset Maugham

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 author always loads his dice, but he must never let the reader see that he has done so.
A reader is doubly guilty of bad manners against an author when he praises his second book at the expense of his first (or vice versa) and then expects the author to be grateful for what he has done.
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.
If a reader likes a particular author, they keep reading all his books, and if the supply is not kept up, then the reader shifts his loyalties.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
Few authors understand themselves, and a proper reader must not only understand his author but also be able to see beyond him.
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.
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader - that's storytelling.
There's a contract that I make between myself, the author, and the reader. I have to figure out how to give the reader certain powers of recognition, or his own knowledge, his own feelings, but I provide them, so we're working together.
An author who sets his reader on sounding the depths of his own thoughts serves him best.
I am always for getting a boy forward in his learning, for that is sure good. I would let him at first read any English book which happens to engage his attention; because you have done a great deal when you have brought him to have entertainment from a book. He'll get better books afterwards.
If you're doing a good job as author, then you get the reader to engage in whatever speculation might be called for. And it's much more meaningful for the reader, if he or she comes up with the questions.
Why all this insistence on the senses? Because in order to convince your reader that he is THERE, you must assault each of his senses, in turn, with color, sound, taste, and texture. If your reader feels the sun on his flesh, the wind fluttering his shirt sleeves, half your fight is won. The most improbable tales can be made believable, if your reader, through his senses, feels certain that he stands at the middle of events. He cannot refuse, then, to participate. The logic of events always gives way to the logic of the senses.
Compose aloud: poetry is a sound. Never explain- your reader is as smart as you. Your reader is not just any reader, but is the rare one with ears in his head.
You will be favourable to Burr, and so must fail because the American reader cannot bear a surprise. He knows that this is the greatest country on earth, Washington the greatest man that ever lived, Burr the wickedest, and evidence to the contrary is not admissible. That means no inconvenient facts, no new information. If you really want the reader's attention, you must flatter him. Make his prejudices your own. Tell him things he already knows. He will love your soundness.
[I]f the writer does his job right, what he basically does is remind the reader of how smart the reader is.
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