Top 1200 Book Readers Quotes & Sayings

Rescue Me' is the first book in a three-book series. Although, like all my series, the books are purposely written so that readers do not have to read them in order.

What's your favorite book?' is a question that is usually only asked by children and banking identity-verification services--and favorite isn't, anyway, the right word to describe the relationship a reader has with a particularly cherished book. Most serious readers can point to one book that has a place in their life like the one that 'Middlemarch' has in mine.

Writing a book for me, I expect, is very similar to the experience of reading the book for my readers.

What readers ask nowadays in a book is that it should improve, instruct, and elevate. This book wouldn't elevate a cow.

The only thing I hope for is that, regardless of what the outward world is for different people, different nations, I hope their internal world is similar. And if I, hopefully, have managed to somehow describe my inner world in this book, all I count on is that it will have some resonance among the American readers, or, at the very least, the American readers will treat this book as a kind of a guidebook for my inner world, strange as it may appear.

Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.

I often hear people say that they read to escape reality, but I believe that what they’re really doing is reading to find reason for hope, to find strength. While a bad book leaves readers with a sense of hopelessness and despair, a good novel, through stories of values realized, of wrongs righted, can bring to readers a connection to the wonder of life. A good novel shows how life can and ought to be lived. It not only entertains but energizes and uplifts readers.

I get letters from two kinds of readers. History buffs, who love to read history and biography for fun, and then kids who want to be writers but who rarely come out and say so in their letters. You can tell by the questions they ask - How did you get your ?rst book published? How long do you spend on a book? So I guess those are the readers that I'm writing for - kids who enjoy that kind of book, because they're interested in history, in other people's lives, in what has happened in the world. I believe that they're the ones who are going to be the movers and shakers.

I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun.

I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun

The only pressure I feel is to write good books. And to not replicate the previous book. Whether you have a thousand readers or a million readers it doesn't change the pressure. I never feel tempted to give the reader what I think the reader wants.

For a lot of readers these days, a book is something you have to agree or disagree with. But you can't agree with a novel. For my generation, it was assumed that a book is a dramatic thing, that the eye of the book is not telling you what to think.

I always want readers to lose themselves completely in a story and feel something, whatever the book invites them to feel. That experience is the best takeaway any book can offer.

When I write, I have a sort of secret kinship of readers in all countries who don't know each other but each of whom, when they read my book, feels at home in it. So I write for those readers. It's almost a sense of writing for a specific person, but it's a specific person who I don't know.

When I taught, a lot of my students weren't big readers, so they would write something and I realized that they thought it belonged in a book. Like, they didn't know what the inside of a book looked like, you know what I mean?

I wrote my first full book when I was fourteen, and that was 'Obernewtyn.' It was also the first book I had published. It was accepted by the first publisher I sent it to, and it was short listed for Children's Book of the Year in the older readers category in Australia.

In America, and no doubt elsewhere, we have such a tendency toward the segregation of cultural products. This is a black book, this is a gay book, this is an Asian book. It can be counterproductive both to the literary enterprise and to people's reading, because it can set up barriers. Readers may think, "Oh, I'm a straight man from Atlanta and I'm white, so I won't enjoy that book because it's by a gay black woman in Brooklyn." They're encouraged to think that, in a way, because of the categorization in the media.

This principle of nature being very remote from the conceptions of Philosophers, I forbore to describe it in that book, least I should be accounted an extravagant freak and so prejudice my Readers against all those things which were the main designe of the book.

The distinctions of what makes a book one genre or another can sometimes be a bit muddy, but generally it's a matter of projecting who the audience will be, which is a judgment that's based on the subject matter. 'Mainstream' is the cleanest label for a book that draws readers of both sexes and from a wide age-range.

All the marketing and advertising sells the book as what it is and hopes that the book will be displayed so that your readers can find it.

The most enjoyable part in writing a series is being able to visit a world I have created and revisit old friends. The challenges are making the book fresh and new for readers who have started from the beginning while still adding old information for new readers.

Readers, not critics, are the people who determine a book's eventual fate.

I have a lot of teenage readers and readers in their early twenties. My writing style appeals to them. And if they look at my picture on the back of the book, they don't see someone who looks like their mother.

I appreciate a book intended to be judged by its cover. The insincere readers are often weeded out while the sincere readers remain curious.

There are infimal readers, readers who want to read the same book over and over, but will never read the same book twice.

I've had mainstream readers complain that the book is really a romance, and romance readers complain that the book isn't a romance - with the same book! It really depends on the individual reader's expectations going into the story, and that's very hard to predict person to person.

I seem to have three categories of readers. The first is nonbelievers who are glad that I am reading the Bible so they don't have to bother. The second group, which is quite large, is very Biblically literate Jews. And the third, which is also very large, is Christians, most of them evangelical. The evangelical readers and the Jewish readers have generally been very encouraging, because they appreciate someone taking the book they love so seriously, and actually reading it and grappling with it.

I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.

The funny thing is, nationalism only could have come about in Europe after the invention of printing. You could have this thing that was a book in a vernacular language, and you could imagine there were other readers of this book who you couldn't see, but they were a theoretical union of readers who all use the same language. That is kind of a prerequisite for a national fantasy. You need that thing, and it's a strange thing.

I find with most of my readers are kind of like me, sort of people who were a little bit naive in life and then learned the hard way that this is what's going on, the political games and most of my readers write to me telling me that the book helped them open their eyes to what other people are doing to them.

I definitely feel like when I write a book it's not my job to police or guide the readers. The book and the characters don't belong to me anymore. If that makes sense.

Along the way, about certain things, you realize, "I don't know anything about this." You think, "Is this going to sound ridiculous?" So I pestered more than a hundred different people over the course of the book. And when I finished the book I gave it to six or seven trusted readers, who are always the same, but I also gave it to a brother of mine who's a doctor and I asked him to read it, and he was very helpful. It's good to have a group of trusted readers. As my kids have grown up, they've joined this group.

Comic book readers are just as abandoned by the corporate system as the creators, despite the importance supposedly given their hard-earned dollars. The average comics shop can offer only a tiny fraction of an industrywide selection that is itself extremely limited in scope. And even when readers know exactly what they want, the search can be maddeningly futile.

If he can give his readers no reason why they should read his book, except that the events happened to him, it is not a valid book.

Sometimes, readers, when they're young, are given, say, a book like 'Moby Dick' to read. And it is an interesting, complicated book, but it's not something that somebody who has never read a book before should be given as an example of why you'll really love to read, necessarily.

A book with the genuine power to stir and comfort its readers.

'Rescue Me' is the first book in a three-book series. Although, like all my series, the books are purposely written so that readers do not have to read them in order.

The challenge is always to find the good place to end the book. The rule I follow with myself is that every book should end where the next book would logically begin. I know that some readers wish that literally all of the threads would be neatly tied off and snipped, but life just doesn't work that way.

I'm a fan of meeting readers face to face, at reader events, where we're able to sit down and take some time to talk. Too often, at regular book signings, I meet readers who have traveled six or eight hours to see me, and I'm unable to spend more than a few short minutes chatting with them as I sign books.

Some people don't like my fiction, because they prefer the nonfiction. But moving around keeps the work fresh for me and, hopefully, for my one or two readers who follow me from book to book!

Maybe it's the readers that make a book global.

I love the fact that you collaborate with your readers when you write a book.

People are used to streaming and binge-watching. When they see an author they like, if there's only one book, even if they like the book, they're going to forget about you. The way to keep you in their mind and to get you to become a habit for these readers is you have to have a lot of product out there for them to read.

Books are just dead words on paper and it is the readers who bring the stories alive. Previously, writers wrote a book and sent it out into the world. A couple of months after publication letters from readers might arrive. And, leaving aside the professional reviews, it is really the reader's opinions that the writer needs. They vote for a book - and a writer - with their hard earned cash every time they go into a bookstore (or online - that's my age showing!) and buy a book.

Without the book business it would be difficult or impossible for true books to find their true readers and without that solitary (and potentially subversive) alone with a book the whole razzmatazz of prizes, banquets, television spectaculars, bestseller lists, even literature courses, editors and authors, are all worthless. Unless a book finds lovers among those solitary readers, it will not live . . . or live for long.

All readers are good readers, when they have the right book.

I knew that a zombie book would not particularly appeal to some of my previous readers, but it was artistically compelling, and being able to do a short nonfiction book about poker was really fun and great.

Some readers sort of suspect that you have another book that you didn't publish that has even more information in it. I think that readers sort of want to be taught something. They have this idea that there's a takeaway from a novel rather than just the being there, which I think is the great, great pleasure of reading.

The travel book is a convenient metaphor for life, with its optimistic beginning or departure, its determined striving, and its reflective conclusion. Journeys change travellers just as a good travel book can change readers.

To me, the solidarity of readers is far more important than the solidarity of writers, particularly since readers in fact find ways to connect over a book or books, whatever they may be.

There are many challenges I face while working on a book. Working within deadlines and schedules is certainly one of the bigger ones for me. I want to create the best possible book I can for my readers with words and pictures - and that takes time to get it just right.

The first person you should think of pleasing, in writing a book, is yourself. If you can amuse yourself for the length of time it takes to write a book, the publisher and the readers can and will come later.

Once you write a book, you hand it over to the readers, and it's their book then. They're so involved. They ask questions about details that I haven't even thought about.

I think I write for reluctant readers. Of course I want everyone to enjoy my books, but if the kids in the back row who normally don't pick up a book are engaged with what I'm writing, along with the kids who are big readers anyway, then I really feel like I've done my job.

No murder or sin or act of barbarism or cruelty has ever been committed by a person fully absorbed in the reading of a book. By this fact alone, we can conclude that readers are nicer people, at least until they put the book down. When we are reading, we are better.

A reader is entitled to believe what he or she believes is consonant with the facts of the book. It is not unusual that readers take away something that is spiritually at variance from what I myself experienced. That's not to say readers make up the book they want. We all have to agree on the facts. But readers bring their histories and all sets of longings. A book will pluck the strings of those longings differently among different readers.

Don't hire anyone - no matter what they offer - who promises you they'll sell 'X' copies of your book. Every book is different. The best any marketing company or PR firm can do for your book is make potential readers aware of it.

I am stunned by how much time and effort I must spend marketing my book and interacting with my readers. With social media, you don't just publish a book and figure you've done your part; your fans want to talk to you, have a conversation.

The way I felt growing up, which was like an outcast - I was weird, I was a nerd, I read fantasy books - I think a lot of fantasy book readers and a lot of readers and writers in general have that experience of isolation.

Leaving a book is hard - 'Secret Six' was a book that people cared about. Even years later, the digital sales are great; the trades and single issues are expensive and highly sought after. It was meaningful to a lot of readers, which is endlessly gratifying.