Top 1200 Book Readers Quotes & Sayings - Page 4

Early readers assumed the Book of Mormon people ranged up and down North and South America from upstate New York to Chili. A close reading of the text reveals it cannot sustain such an expansive geography.

It makes me nuts, the idea that if you put a political struggle at the heart of your book, then it has to be that the author - me - is trying in some way to push my views onto my readers.

Engage with your readers as often as you can. Readers, myself included, want a relationship with everyone in their lives, even the people behind the pages of their favorite books.

When I settled to writing seriously, which would be in my 30s, I did expect to be published eventually, but my aspirations werent very high. A published book and a few appreciative readers was my idea of heaven.

I have a passion for teaching kids to become readers, to become comfortable with a book, not daunted. Books shouldn't be daunting, they should be funny, exciting and wonderful; and learning to be a reader gives a terrific advantage.

It feels wonderful to get praise from other authors who I admire, but with each new book, my confidence is always the thing I struggle with the most until I start getting positive feedback from readers.

To me there's no difference between writing YA and adult except that in YA I make the book a little shorter and the protagonists are teens. The difference is in the readers.

One of the most frequent responses I get from non-Christian readers is: 'I'm not sure I agree with all this, but I must say this is the first book I've read by a Christian that didn't treat me like I was an idiot.'

That first meeting - the one where the hero and heroine start the slow burn that takes the whole story to turn into true love - is the single most important part of the whole book. Nail it, and you've won yourself readers.

I just love the idea that people disappear into the story for a while. You grab a book, and you want to get back to it, and your life becomes a bit of an interruption. I would love readers to feel like that.

One of the great things about writing a series is that with each book, the novel is meant to stand alone on its own legs, but also to bring along those loyal readers who become attached to the characters over the years.

Japan, Germany, and India seem to me to have serious writers, readers, and book buyers, but the Netherlands has struck me as the most robust literary culture in the world.

Readers, after all, are making the world with you. You give them the materials, but it's the readers who build that world in their own minds.

A movie is not a book. If the source material is a book, you cannot be too respectful of the book. All you owe to the book is the spirit.

It's not uncommon for men to show up at my book signings or to send me emails with their thoughts about my books. I've also heard from a number of female readers who were introduced to my works by men in their lives.

The unadmitted reason why traditional readers are hostile to e-books is that we still hold the superstitious idea that a book is like a soul, and that every soul should have its own body.

A book, a book full of human touches, of shirts, a book without loneliness, with men and tools, a book is victory.

I think Britain has this tradition which suggests that if you make the readers laugh too much, you can't really be serious. Whereas, I think one of the functions laughter can perform in a book, as in life, is that it's a reaction to genuine horror.

I think the press has an interest in communicating to its viewers or readers, and their viewers or readers drive profit for those news organizations, so I think those news organizations have a certain bias toward their own readers. Yeah, I think they are a special interest. Of course they are.

My books are based on the "what if" principle. "What if you became invisible?" or "What if you did change into your mother for one day?" I then take it from there. Each book takes several months in the long process of writing, rewriting, writing, rewriting, and each has its own set of problems. The one thing I dislike about the writing process is the sometimes-loneliness of it all. Readers only get to see the glamour part of a bound book, not some of the agonizing moments one has while constructing it.

The novelist in me is probably hiding behind all the stories I write, looking for ways to connect them and continue the conversation with readers. Maybe I'm writing one long narrative, and each book, however different from the last, is just a chapter.

As my editor had no desire to frighten readers with the Romanian pages, he had them translated and published the whole thing in French in 1984. It was only years later, in Romania, that I was able to publish the book as I wrote it.

I write for the people I grew up with. I took extreme pains for my book to not be a native informant. Not: 'This is Dominican food. This is a Spanish word.' I trust my readers, even non-Spanish ones.

I was very fortunate that my first novel captivated the imaginations of so many readers who asked for a sequel. After that, one book led to another as I discovered other facets to my characters I wanted to investigate further.

A lot of the ways that I like to approach comic books, or anything like that, is not just the book itself, but the fans of it, the readers, the world that exists around it as a cultural object.

I have a total responsibility to the reader. The reader has to trust me and never feel betrayed. There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers. And it's appropriate, because the writer is getting paid and the reader isn't.

But as I wrote the book [Louis D. Brandeis: American Prophet], I tried to write it as clearly and directly and passionately as possible just thinking of communicating to readers who might want to learn about this great thinker and be inspired by him as I was.

Writing is so fun precisely because if you take out the right adjective, the readers can decide what kind of book is in their hands. Suspension of disbelief should not be mandatory in contemporary writing.

Write a nonfiction book, and be prepared for the legion of readers who are going to doubt your fact. But write a novel, and get ready for the world to assume every word is true.

There's a kind of funny gap between 14 and 20 when young people don't read very much. Nobody really knows what to do about it, although we've tried to reach these dropout readers with the 'young adult' book.

I'm no longer religious, but the Bible fascinates me. Hardly anyone reads it anymore, but it's got everything: it's a book of poetry, it's a book of principle, it's a book of stories, and of myths and of epic tales, a book of histories and a book of fictions, of riddles, fables, parables and allegories.

Having a book censored means something. It means you have deeply offended one or more people who felt they needed to protect unsuspecting readers from your inflammatory words, thoughts, and images.

A book is a garden; A book is an orchard; A book is a storehouse; A book is a party. It is company by the way; it is a counselor; it is a multitude of counselors.

I think most serious and omnivorous readers are alike- intense in their dedication to the word, quiet-minded, but relieved and eagerly talkative when they meet other readers and kindred spirits.

Making 'Birdsong,' on the one hand you have how prestigious it is and the reputation of the book, which is something that's an extraordinary piece of work. Sebastian Faulkes is a genius. So you feel that responsibility when you're portraying that character that he's imagined and millions of readers have pictured.

They belong to their readers now, which is a great thing–because the books are more powerful in the hands of my readers than they could ever be in my hands.

If the book is second-hand, I leave all its markings intact, the spoor of previous readers, fellow-travellers who have recorded their passage by means of scribbled comments, a name on the fly-leaf, a bus ticket to mark a certain page.

Writing a mystery is like drawing a picture and then cutting it into little pieces that you offer to your readers one piece at a time, thus allowing them the chance to put the jigsaw puzzle together by the end of the book.

Many readers judge of the power of a book by the shock it gives their feelings - as some savage tribes determine the power of muskets by their recoil; that being considered best which fairly prostrates the purchaser.

I try to put my heart out there to everybody. They don't have to be Christian. For example, I have lots of Jewish readers. I love my Jewish readers.

For a professional writer in the Soviet Union, it works this way. First, you have to have something to say - that's the main thing. Second, it's a matter of who publishes you. If your book has real stuff in it, readers will ferret it out, even in a Siberian journal.

We decided we wanted the site to provide readers with fresh new stories to enjoy between major book releases by their favorite authors while allowing those same authors to flex their creative muscles.

Most of promoting seems unnatural to me, and I wish I didn't have to do it. I'm not especially good at tooting my own horn. However, I do love to connect with readers. That's why I try to keep up with my social media even when I don't have a new book coming out.

Butler's novel 'Kindred' may be the book most widely read by readers outside science fiction; it has been assigned as a text in classrooms and has sold steadily since its publication in 1979.

If you're going to call a book 'The Politically Incorrect Guide to American History,' readers will expect some serious carrying on about race, and Thomas Woods Jr. does not disappoint.

Who do readers expect to see when they pick up this book? Who has won the Most Troubled Romantic Lead at the BookWorld Awards seventy-seven times in a row? Me. All me.

Whenever I go to Germany I find that my readers have T-shirts with my book covers printed on them. They come to all the events, they have gifts and they come with their families. They are always very open to sharing their personal stories.

For some reason, I tend to take on the stuff that people are really passionate about. If you make a list of people you don't want to offend, it's Vonnegut readers, comic book fans, and Coen brothers enthusiasts.

I allude to Back to the Future in the 1985 story to let folks know it was an inspiration and because it literally was the most time-travelly bit of pop culture we had in the mid 80's. I can talk about their tools for considering change. First, the book is metafictive in a traditional sense where I'm showing and telling the reader that the act of writing and reading is a reflexive way to push boundaries of real and literal time travel. Writers and readers are time travellers. The question is what we do with that time we traveled when we leave a book, leave a page.

To read a book is to hold an entire world in the palm of your hand. That world is unique to you; no two readers can ever inhabit the same world

I'm far more often annoyed than delighted by previous readers' marks in used books, so I assume that my notations will be equally annoying to future readers, and avoid making them.

I tell beginning readers to read a lot and write a lot. If you want to write a book, find a subject that's really worth the time and effort you'll put in.

When you trust your readers, you're hoping they will see what you see. Not every book is for every person.

It seems like every ten years there's a book that says that poetry used to be popular, and now it's not, but we really have no way of knowing, in terms of relative size of audience and other things, exactly who readers were.

One of my pet theories is that readers have built-in BS detectors that enable them to recognize insincerity in writers. David [Halberstam] was sincerity to the core. He believed in what he wrote, and that conviction conveyed itself to readers.

Readers of fiction read, I think, for a deeper embrace of the world, of reality. And that's brave. I never get over being thankful for that - for the courage of my readers.

Literary men now routinely tell their readers about their divorces. One literary man who reviews books wrote, in reviewing a study of Ruskin, that he had never read a book by Ruskin but that the study confirmed him in his belief that he didn't want to read a book by Ruskin. This man very often writes about his family life.

The Bible is a book of faith, and a book of doctrine, and a book of morals, and a book of religion, of especial revelation from God.

When I settled to writing seriously, which would be in my 30s, I did expect to be published eventually, but my aspirations weren't very high. A published book and a few appreciative readers was my idea of heaven.

I had this story that had been banging around in my head and I thought, 'I'll just see if there's anything there.' So I wrote a few chapters of the book that became 'Year of Wonders,' and lucky for me it found its readers.