Top 1200 Book Readers Quotes & Sayings - Page 5

Portraits of the Mind is a remarkable book that combines beautifully reproduced illustrations of the nervous system as it has been visualized over the centuries, as well as lively and authoritative commentaries by some of today's leading neuroscientists. It will be enjoyed by professionals and general readers alike.

I decided to take my foot off the pedal with all the detail. I'm sure after 'Animalia' and 'The Eleventh Hour,' readers thought that's what to expect from Graeme Base. With 'The Sign of the Seahorse,' I took a step away from the puzzle-book genre - that was more of an adventure story.

I've read quite a few readers' reviews of my book on Amazon, saying, 'Ah, he criticises the free market, he advocates central planning.' I don't do that for a minute! But this is our black and white, dichotomous way of thinking - which has really been harmful.

What if there was a library which held every book? Not every book on sale, or every important book, or even every book in English, but simply every book - a key part of our planet's cultural legacy.

When I wrote The Interestings, I wanted to let time unspool, to give the book the feeling of time passing. I had to allow myself the freedom to move back and forth in time freely, and to trust that readers would accept this.

My personal theory is that younger audiences disdain books - not because those readers are dumber than past readers, but because today's reader is smarter.

I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.

'Throne of Glass' readers tend to be passionate, talented, clever, and welcoming - in fact, I'm consistently moved by just how welcoming 'TOG' readers are to new fans.

As a digital creator, there's been so much pressure to write a book because so many of my peers have done it. I've been very adamant about saying, "No! I don't want to release a book just for the sake of writing a book. I'm going to write a book when I feel like I have something to say in a book."

I want to stress the importance of being fair to our readers. You should not impose your own view and prejudice on the readers and try to lead them to a conclusion. As a reader, I understand what a fair report is.

Bea says that the art of reading is slowly dying, that it's an intimate ritual, that a book is a mirror that offers us only what we already carry inside us, that when we read, we do it with all our heart and mind, and great readers are becoming more scarce by the day.

When I get about five readers I can rub together in one genre, I leave that genre and go somewhere else. And this is due to a vow that I made myself when I started writing - that if I had any success at all, I would not be bound to one form of writing. That I would write what moves me. The only way I can see me surviving and doing more than one book is to present the readers with a Dan Simmons novel, with whatever tropes and protocols from whatever genre I want to borrow them. If that builds a Dan Simmons readership, well then, okay. Otherwise, forget about it. I'd rather drive a truck.

Clear, crisp, refreshingly sensible, and as entertaining as it is enlightening, The Abs Diet will reward its readers handsomely. There are few 'diet books' that I am willing to endorse; I endorse this one enthusiastically. If you have an abdomen, get this book!

Reading, like writing, is a creative act. If readers only bring a narrow range of themselves to the book, then they'll only see their narrow range reflected in it.

Online is such a brilliant, brilliant way to connect with young readers - even if they just want to tweet, 'Hey, I read your book!' - that, absolutely, I connect with that. But I also treat writing as solitary and keep it to myself as long as I can.

Among the letters my readers write me, there is a certain category which is continuously growing, and which I see as a symptom of the increasing intellectualization of the relationship between readers and literature.

It was quite risky to open the book with one of my quieter stories; I'm kind of trying, I think, to lure readers into a false sense of security and then assault them with a couple really loud, really strange stories.

Critics are biased, and so are readers. (Indeed, a critic is a bundle of biases held loosely together by a sense of taste.) But intelligent readers soon discover how to allow for the windage of their own and a critic's prejudices.

For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).

I think What Dreams May Come is the most important (read effective) book I've written. It has caused a number of readers to lose their fear of death the finest tribute any writer could receive. ... Somewhere In Time is my favorite novel.

I don't like the idea of a book being a test or being used for a test. The way - in my opinion - to make good readers is to let kids choose their own books and not test them.

I receive about 10,000 letters a year from readers, and in the first year after a book is published, perhaps 5,000 letters will deal specifically with that piece of work.

Full of fun, over-the-top characters and witty prose, with a touch of gay romance that is equally pleasing to straight readers. The Edwin Drood Murders is the perfect mystery for educated, intelligent readers.

I am persuaded that foolish writers and foolish readers are created for each other; and that fortune provides readers as she does mates for ugly women.

The columnists have a very personal relationship with their readers, and the readers deserve to hear directly from the columnists.

Art is a gift: you create and then you give away. How readers receive that gift is their business. If they hate it, that’s their response to it. Others respond by liking it. Either way, that is their interaction with the book, which is no longer mine.

It's because of libraries that books like mine get recommended to book clubs and avid readers, who in turn pass them onto others looking to be whisked away from the world for a little while...and perhaps to learn a bit about themselves in the process.

In his exciting debut novel, Jerel Law transports readers to a place where supernatural forces of good and evil collide. Young readers will be entertained and inspired by Spirit Fighter. I heartily recommend it.

Funnily enough, the Federal Reserve produced comics about monetary policy, and there is a good comic book guide to microeconomics and macroeconomics out there. But it is not really appropriate for younger readers; it is really aimed at economics students.

The comments I most appreciate come from ordinary readers who've happened on one of my books at some time of stress in their lives, and who actually credit the book with helping them through a bad time. It's happened a few times in forty years.

When I wrote 'The Interestings,' I wanted to let time unspool, to give the book the feeling of time passing. I had to allow myself the freedom to move back and forth in time freely, and to trust that readers would accept this.

I'm not immune to the readers' desires. Sometimes they are my own, because I'm a reader, too. The readers' desire to know what really happened and what didn't. To have a glimpse into what's really the author and what isn't. I think we all have that and I wonder about what it means.

Someone told me that each equation I included in my book would halve the sales. I did put in one equation, Einstein's famous equation, E = MC squared. I hope that this will not scare off half of my potential readers.

There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man's title to fame.

Once I found this possibility to use Twitter and Facebook and my blog to connect to my readers, I'm going to use it, to connect to them and to share thoughts that I cannot use in the book.

For me,the greater part of writing is daydreaming, dreaming the dream of my story until it hatches out-the writing down of it I always find hard.But I love finishing it,then holding the book in my hand and sharing my dream with my readers.

One must be rich in thought and character to owe nothing to books, though preparation is necessary to profitable reading; and the less reading is better than more;--book-struck men are of all readers least wise, however knowing or learned.

Many readers share their stories with me and if one speaks to me (or if the same theme keeps coming at me), I will research it and decide if it would make a good book. But, straight down to it, people inspire me.

You know, I don't think a lot about why one book connects with its readers and another doesn't. Probably because I don't want to start thinking, "Am I popular?" I spent way too much time thinking about that in high school.

One of the nice things about a second book is that your readers already have so much of the introductions on board, they don't have to put all their attention into figuring out the world and can more easily let that play out as a background to the other things you want to do.

I get to use fiction as a way to work out my thinking and to delight readers in the process. I can't think of any deal that's better for me, and I'm always so grateful that readers have indulged me as I argue with myself in my stories.

If books could have more, give more, be more, show more, they would still need readers who bring to them sound and smell and light and all the rest that can’t be in books. The book needs you.

Soon after publishing a book for kids, my mailbox began to fill with letters from children all across America. Not because my novels for young readers are bestsellers - they're not by a long shot - but because today's kids love to write to authors.

Twitter is fun because it lets me stay in touch with all my original readers who grew up with my books. I love hearing from readers instantly on Twitter.

I think that there's this idea - especially for male readers, but female readers as well, because we're all indoctrinated, right? - where there's this idea that if a woman is tough, it can only be in a way that is still sexy.

If you're bored, your readers will be bored. If you're faking it, you won't get the kind of readers you want.

A blessed companion is a book! A book that, fitly chosen, is a life-long friend. A book — the unfailing Damon to his loving Pythias. A book that — at a touch — pours its heart into our own.

Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.

It must be that people who read go on more macrocosmic and microcosmic trips – biblical god trips, the Tibetan Book of the Dead, Ulysses, Finnegan’s Wake trips. Non-readers, what do they get? (They get the munchies.)

It's not even my job to educate, but what I do is try to facilitate by creating a book that works on different levels. I do want to entertain and bring some joy to the reading experience. If it holds a little kernel of knowledge that readers choose to explore, well, that's great.

If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.

I don't need every book to have female creators, I don't care if there are books that appeal mostly to guy readers. I don't care if some books have cheesecake. I am fine with all of that. It's the not allowing anything else that makes me furious.

For me it's more important that I outline all the facets of a controversial issue and let the reader make up his or her mind. I don't care if readers change their minds, but I would like readers to ask themselves why their opinion is what it is.

Readers want to have the confidence that you understand the era in which the book is set, so for 'The Perfumer's Secret,' I needed to know everything about the First World War from a French perspective. I had to understand those people and that town in 1914.

As readers, we sense when the game is being played for real and when something else is afoot: pride, showmanship, the pursuit of power, self-aggrandizement, revenge, making money. Not that there's anything wrong with any of that, but I dislike closing a book with the sense that I've been had.

I've found that in an adult reference book, if it's not a subject I'm interested in, I just can't get into it. I was thinking, what is the place in the library I can go to to get books tailored to make things interesting for uninterested readers? Boom. The children's section.

As a publisher what you are trying to build is a long life for a book, to help it find its readers in many different ways, whether or not it made this list or got that review, etc. I'm sure some of that thinking has been useful to me as a writer as well.

I would be happier if people who went through MFA programs also were already, by then, deeply committed readers of poetry because we need readers of poetry as much as writers of poetry.

I'm being provided with some emotional ballast by giving me an intimate portrait of one character in particular in contrast to the collective. I'm fortunate that I had very sympathetic readers, but ordinarily - if a book makes you laugh too much, it shifts from "literature" to "entertainment."

With the advancement in e-reading technology, I was curious if it were possible for readers to be able to hear the actual songs while reading the book. I contacted Amazon and discussed the idea with their Kindle team, and they were very enthusiastic about it.