Top 1200 Book Readers Quotes & Sayings - Page 3

The readers who commited suicide after reading 'Werther' were not ideal but merely sentimental readers.

Normally writers do not talk much,because they are saving their conversations for the readers of their book- those invisible listeners with whom we wish to strike a sympathetic chord.

A book is made better by good readers and clearer by good opponents.

The future of publishing is about having connections to readers and the knowledge of what those readers want.

It is quite too common a practice, both in readers and the more superficial class of critics, to judge a book by what it is not, a matter much easier to determine than what it is.

I want to make sense of things, to understand the world, but my work is never really instructional. I have no wisdom to impart or give, so I think my dream readers would be people who just use the book as an excuse to get into their own cycle of thoughts. The book is just like a map. It's just a jotting-down of things that you can interpret in your own ways.

The kids I talk to are readers, and the craziest, the most dedicated readers you will ever see.

I feel that form determines how readers read a book and how they judge it.

I’m imagining that paper books will evolve to become something akin to candles - we have them in our homes and cherish their light, but don’t light our homes with them. Readers of Lincoln’s era would likely be surprised at how well-lit our homes are, and I think it’s likely that we will be surprised at how well-read future book readers will be.

The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.

Every writer can tell you that a book is only truly alive when it finds passionate readers who bring it alive in their imaginations.

I write with a sense of my future readers being ever on the verge of setting down the book and pronouncing it a bore. Fear and insecurity are great motivators.

Once readers and industry professionals have you pegged down as writing a particular type of book, they are less likely to try something new from you if they decided they didn't like the first one.

That's one of the many things about having the bookstore that I adore. I can walk into the store and say to somebody, "I'm glad you're reading this book" or "I'm glad you're getting this book" or "Don't get that book. I read that book and hated that book. Let's get you this book instead."

To say that an author is a reader or a reader an author, to see a book as a human being or a human being a book, to describe the world as text or a text as the world, are ways of naming the readers craft.

Readers who claim a preference for short-form over long often tell me it's because they don't have time to commit to a book-length chunk of writing.

As an author, one of the most important things I think you can do once you've written a novel is step back. When the book is out, it belongs to the readers and you can't stand there breathing over their shoulders.

The book is about zombies, in that it is the over-arching theme, but what's going on is the story of these people and how these survivors deal. I think that's so much more of an interesting story, and that's what really gets and hooks these readers into the book and the show. It's a mix of fans of drama, fans of AMC, fans of horror and fans of Frank [Darabont]. It's a lot of people just coming together and realizing a genre doesn't have to be fixed in one specific detail.

I think it's so important for young readers to find a book or series that ignites their passion for reading, especially boys, whose interest in reading wanes as they grow older.

Digression is my passion. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten, and that are kind of surprising. The problem is, how do you pare stories away so that the book doesn't become a distracting jumble of material, and readers lose focus? In my experience, there's really only one way to do that. I pack it all in with the rough draft, then count on myself and my trusted readers to tell me what's good and what's not good.

Most chess books only sell a few thousand copies, and a book titled something like "Women in Chess" would sell even fewer. The idea with this title was to spread the book outside the competitive chess world. I'm interested in attracting readers who love chess but play only casually, and feminists interested in male-dominated fields.

'The Good Soldier' is an odd and maybe even unique book. That it is a masterpiece, almost a perfect novel, comes as a repeated surprise even to readers who have read it before.

I like the idea of a book being a democratic space which readers enter, carrying their own thoughts, and participate in a conversation, or experience of grace.

I like to think that each book I start is a completely new departure But I’ve learned that whatever you do, readers will have no difficulty assimilating it into what you’ve done before.

Readers of novels are a strange folk, upon whose probable or even possible tastes no wise book-maker would ever venture to bet.

I always try to incorporate something in every book that I've never used before. Hopefully, spontaneity will keep readers reading.

I figure I write for people who are intelligent enough to do some labor. Lazy readers are not my ideal readers.

A book is something that young readers can experience on their own time. They decide when to turn the page. They'll put their arm right on the page so you can't turn it because they're not ready to go to the next page yet. They just want to look at it again, or they want to read the book over and over because they really enjoy setting the pace themselves.

There are many readers of the book, who don't know anything about the authors and the artists. There is more than one author. It doesn't matter, if you can't make the reader dive into the story and surround him with that environment and those characters. That's an experience that lasts longer than figuring out who did what. I think that's what makes our working relationship better, it helps us to make a book that feels unique and not like different voices.

I try to write short novels and leave details out not because I want to be minimalist, but because I think that it enables the readers' creativity and interaction with the book.

A children's book is the perfect place where young readers can understand the world because they can take a deep breath and look at it and imagine and contemplate while they're looking at.

When I'm writing, I'm thinking, "Well, this might be a book that I'll always be happy with, and certainly readers will be happy with." But another part of me knows that when I'm past the stage of writing, the book is gonna have good things about it, bad things about it - probably more bad than good. I just know that. That's who I am.

The dirty little secret of publishing is that, all along, each book sold has had an average of 5 readers. That's an 80% "piracy" rate if you insist on looking at it in those terms.

Journalism allows its readers to witness history; fiction gives its readers an opportunity to live it.

It’s not in the book or in the writer that readers discern the truth of what they read; they see it in themselves, if the light of truth has penetrated their minds.

As far as what readers can expect with 'Maybe Someday,' I'm not the type of writer who writes to educate or inform my readers. I simply write to entertain them.

Nothing that readers say or do strikes me as a nuisance. Anyone who cracks open a book of mine is, to me, a gem.

A good book is fruitful of other books; it perpetuates its fame from age to age, and makes eras in the lives of its readers.

I like to listen to music that fits with what I'm writing. For each book, I've assembled a playlist, so readers can get a sense of what I was listening to while I was writing.

'Batman' readers are the smartest readers in the world. I don't have to hold their hands.

When I am composing, I try to clear my mind of having to publish, or having to sell a book or find readers. That kind of thinking gets in the way.

Don't worry about how pretty (the story) sounds, how lilting it is, and the imagery, and the metaphor, all that. Most readers don't care. It's the people in your book that matter.

'Harry Potter' created a generation of readers in an era when kids could have disappeared into the depths of the Internet. That's no small feat. Every book series owes J.K. Rowling a debt of gratitude.

The Hawley Book of the Dead had me completely spellbound from beginning to end. A storytelling virtuosa, Chrysler Szarlan has woven a wondrous, scintillating web of suspense, love, history, and magic that will keep you eagerly turning the pages late into the night. Even readers not normally drawn to the supernatural will be swept away by this book; it has everything a great adventure should have-and so much more.

It is possible to argue that the really influential book is not that which converts ten millions of casual readers, but rather that which converts the very few who, at any given moment, succeed in seizing power. Marx and Sorel have been influential in the modern world, not so much because they were best-sellers (Sorel in particular was not at all a widely read author), but because among their few readers were two men, called respectively Lenin and Mussolini.

All TV can do is capture the spirit of a book because the medium is so utterly different. But I'm very grateful for the readers that Masterpiece Theatre has undoubtedly brought me.

I don't want to waste my readers' time ever. My readers are very important to me.

My readers often say to me, 'If we lived next door to each other, we'd be best friends.' That is precisely what I wanted to say to smart, funny, self-effacing Ellen McCarthy after I finished reading The Real Thing. I loved every lesson laid out in a book that wouldn't dare to call itself a field guide to marriage but amounts to as much on every page. This is a deeply useful little book.

One of the most fun things for me, as a writer, is when readers ask questions like, 'Oh, I noticed that you have a lot of water and baptism imagery in your book. Did you do that on purpose?'

A book is always a dialogue with other readers and other books.

I can understand the natural anxiety of readers when waiting for another installment of a favourite series, but I think it is much more important to get a book right than it is to have it appear on time.

Readers are made by readers - it is so obvious it is almost banal to say it.

My relationship with my readers is somewhat theatrical. One of the main things I try to do in my work is delight my readers.

I made a decision to write for my readers, not to try to find more readers for my writing.

I think the most important things my book does is to give readers the address of George Monbiot's website and how to get hold of comic books by Grant Morrison.

If you put a pink cover on something, critics make a certain set of assumptions and may not even read the book. But my readers are happy with it.

With 'The Angel's Game', there was a lot of pressure from the expectations - expectations from the book industry and from readers; it's natural.

You will want a book which contains not man's thoughts, but God's - not a book that may amuse you, but a book that can save you - not even a book that can instruct you, but a book on which you can venture an eternity - not only a book which can give relief to your spirit, but redemption to your soul - a book which contains salvation, and conveys it to you, one which shall at once be the Saviour's book and the sinner's.

Readers themselves, I think, contribute to a book. They add their own imaginations, and it is as though the writer only gave them something to work on, and they did the rest.

Critics have a problem with sentimentality. Readers do not. I write for readers.