Top 1200 Book Readers Quotes & Sayings - Page 6

At the same time, I think books create a sort of network in the reader's mind, with one book reinforcing another. Some books form relationships. Other books stand in opposition. No two writers or readers have the same pattern of interaction.

I struggle with confidence, every time. I’m never completely sure I can write another book. Maybe my scope is too grand, my questions too hard, surely readers won’t want to follow me here. A novel is like a cathedral, it knocks you down to size when you enter into it.

When a translator translates my book, it is no longer just my book. It is the translator's book, too. So the book in another language is almost the work of two people. And that is quite interesting to me.

I think Hemingway's [book] titles should be awarded first prize in any contest. Each of them is a poem, and their mysterious power over readers contributes to Hemingway's success. His titles have a life of their own, and they have enriched the American vocabulary.

I'm excited to see Cassie's fans and how they react to the ending of 'Clockwork Princess!' I love hanging out with readers and seeing the energy readers bring to a room: seeing so many people united in imagination is going to be wonderful.

Writing 'Book 1: The Maze of Bones' didn't feel much different than writing one of my other novels, but I thought it was very innovative to offer the website and trading card components as well for those readers who wanted to go more in depth with the Cahill experience.

I don't consciously try to take my readers on a journey as I don't really think about my readers when I'm writing. I just try to write what I feel passionately about, to tell a story down onto the page.

People are reading more and writing more because of the internet. So the virtual world is a way for me to listen to my readers and interact with my readers. It is a way that they can voice their opinion.

I like big books and I cannot lie. You other readers can’t deny That when a kid walks in with The Name of the Wind Like a hardbound brick of win. Story bling. Wanna swipe that thing Cause you see that boy is speeding Right through the book he’s reading. I’m hooked and I can’t stop pleading. Wanna curl up with that for ages, All thousand pages. Reviewers tried to warn me. But with that plot you hooked Me like Bradley. Ooh, crack that fat spine. You know I wanna make you mine. This book is stella ’cause it ain’t some quick novella.

I often visit Maria Tatar's 'The Grimm Reader' for a cold dose of courage. Her translations come from the Brothers Grimm, whose now-famous collection of 'Kinder- und Hausmarchen' ('Children's and Household Tales') was first published in 1812. The book was not intended for young readers.

People are going to die who don't die in the books, so even the book readers will be unhappy. So everybody better be on their toes. David and D.B. (David Benioff and D.B. Weiss co-creators of 'Game Of Thrones') are even bloodier than I am.

My readers - and I get 400 emails for a day, my readers normally they say, well, you understand me, and I answer, you do understand me also. We are in the same level.

'StrengthsFinder 2.0' is an effort to get the core message and language out to a much broader audience. We had no idea how well received the first strengths book would be by general readers - it was oriented more toward managers - or that the energy and excitement would continue to grow.

The holy men and women, whose lives are told throughout this book, witness to the fact that the word of God is alive and has the power to transform us. By discovering these saints, readers will learn how to embody Scripture, letting it enlarge their hearts and mold their lives into the image of Christ.

I write a book a year while creating TV and film projects. And being a writer isn't just writing: I have to chase down paychecks and manage foreign tax payments. I maintain a vibrant relationship with readers and bloggers. And when it comes to Hollywood, I typically have to have fifteen business meetings in the hopes that one leads to a project.

There are some readers who have never read an essay on taste; and if they take my advice they never will, for they can no more improve their taste by so doing than they could improve their appetite or digestion by studying a cookery-book.

Ten years ago, you wrote a book and you never expected to find out anything about the author. Now with social media, everyone wants that connection. I think our readers want to be invited into our lives and brought on the journey and be part of this whole process.

I use these senses - touch, sight, feel and smell - as triggers that invite readers or propel them into the scene. The trick is not to make it obvious. I've written an entire chapter about this in my book, 'The Successful Novelist.' I've lectured about it extensively, but have yet to see many people pick up on it.

I like art that trusts its audience, that's written for readers who like to work hard. I like art that knows its readers are up to the challenge of interacting with difficult material.

I like to hear from my readers, and I like to feel like I'm part of a bigger community of readers and writers.

The fact of the matter is I always have a really high sense of responsibility to the reader, whether it's a few readers that I get or a lot of readers, which I was lucky enough to get with 'Olive.' I feel responsible to them, to deliver something as truthful and straight as I can.

You may be somebody who writes best for a small press that doesn't pay very well, but you might have a fascinating and intricate style that might not appeal to as many readers but will be incredibly meaningful to the readers you have. Truly, that's as wonderful if not more wonderful.

I immediately went out and bought a book on anger management. And now I have that book, and I don't know if I'll get to the book. But I'm certainly excited about the day where I can't find the book, and I get to say, 'Where the hell is my anger management book?!'

The most reward experience is having another writer come up to you and say that they started writing because they read my books. That is how writing as a profession continues: readers becomes writers who inspire new readers.

An author entices the readers with their words, and it is painful for them to even lose a sentence. But films and books are two different mediums and should be dealt differently. What works in a book might not work for a film. When I saw 'Anna Karenina' on screen, I didn't like it at all, whereas 'The Godfather' was legendary.

I'm not saying I have to write a book that's ten times better than my counterparts, but I do think that I have to concentrate my efforts on writing something that will really engage people's humanity and will tie readers to my characters regardless of race. I have to prove that I can connect with a wider audience.

I have always argued that newspapers should not have any civic purpose beyond telling readers what is happening... A reporter who doesn't quickly tell readers what they most want to know - the score - won't last long. Better he should teach political science.

What I care about is readers because without readers I can't make a living... And I think it's a bad thing for the world if people don't read anymore. I want people to read a lot.

I am trying to give the best performance possible in 400 pages. I want readers to be scared; I want them to be moved. Entertainment doesn't necessarily mean something trivial, but it does mean people wanting to get to the end of a book.

We need to write books that publicists and marketers and booksellers and book club leaders and librarians and readers can get excited about. That have something about them that makes them stand out. That makes them shine.

Teenage readers also have a different relationship with the authors whose work they value than adult readers do. I loved Toni Morrison, but I don't have any desire to follow her on Twitter. I just want to read her books.

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. It means, though, that you can connect with your readers like never before, so you don't have to guess what they like - you can ask.

I do a lot of book signings and conventions every year, and I meet a great many readers who are struggling... they're working through illness, injury, addiction, depression, grief, or some other trauma. It seems to me that there's a lot of heroism in fighting those things as well, as best you can.

Most writers are lazy intellectuals, and it's a goddamn shame because a writer with an audience has a moral responsibility to make readers think about the world in a different way than what they're used to. Why else would you pick up a book if not to inhabit another realm of existence for a while?

I usually have about four books on the go - a bedside book, a lavatory book, a downstairs book, and the book in my study that I read sneakily while I should be writing. Short stories for the lavatory, obviously.

I think when a reader reads a whole book - which takes six to ten hours - that’s kind of a gift to the author. The gift of close, undivided attention. To who else do we listen so closely for eight straight hours? And when readers give that gift to me, I’m grateful for it.

'The Things They Carried' is labeled right inside the book as a work of fiction, but I did set out when I wrote the book to make it feel real... I use my own name, and I dedicated the book to characters in the book to give it the form of a war memoir.

It's a nonsense because, as we all know, there are brilliant 15-year-old readers and hopeless 50-year-old readers. All that categorisation is a matter of bookshop shelves rather than literary categories, I think.

Master storytellers like Jeffrey Archer and Arthur Hailey use simple language. But they manage to grab the attention of the readers right from page one. I'll consider myself a good storyteller the day people believe it's OK to be late for work or postpone deadlines just to finish reading my book.

Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.

It's always a better choice to write a new book than it is to keep pounding your head against the submissions wall with a book that's just not happening. The next book you write could be the book, the one that isn't a fight to get representation for at all.

A lot of people have read the Mira Grant books who are not urban fantasy readers, and they would never have picked up a book with an urban fantasist's name on the cover, but then they go on to read my urban fantasy and like it.

I love getting fan mail. Often, as a writer, you never know what your readers think of a book... you get critical reviews and sales figures, but none of that is the same as knowing you've made a person stay up all night reading, or helped them have a good cry, or really touched their life.

Writing blog posts is totally freeing in a whole new way for me. I'm not writing it for any editor, and I'm not being paid, so I can say whatever I want. I don't have to justify the cost of a book to readers; they get it for free, so expectations are naturally low. (And no one-star reviews!)

When you're writing a book, with people in it as opposed to animals, it is no good having people who are ordinary, because they are not going to interest your readers at all. Every writer in the world has to use the characters that have something interesting about them, and this is even more true in children's books.

One of the accidental joys of my writing life has been that I've had some lovely, surprisingly good fortune with readers, and I've brought readers to my dad's work. I can't tell you the joy that gives me. Because my father's work was masterful.

I began writing books after speaking for several years and I realize that when you have a written book people think that you're smarter than you really are if I can joke. But it's interesting. People will buy your book and hire you without reading the book just because you have a book and you have a book on a subject that they think is of interest to themselves or e to their company.

'Seize the Story' takes readers all the way through the process of writing fiction, from beginning to end. Every element, from dialogue to setting, plotting to character creation, is laid out and illustrated with examples. But the tone of the book is not that of a dry writing manual - it's definitely written for teenagers.

Henry Miller is a famous writer whose work has fallen out of fashion, but I strongly recommend that readers who don't know his work pick up a book and experience this writer's zealous, crazy, inventive, funny, sexy, often delirious prose.

We didn't have all the distractions that young people have today. We didn't have these incredible computer games and social networks to engage with. I understand that. But once young readers do discover reading, when they discover a book which they fall in love with, it really unleashes something new in their imagination.

Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.

One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.

The prosperity of a book lies in the minds of readers. Public knowledge and public taste fluctuate; and there come times when works which were once capable of instructing and delighting thousands lose their power, and works, before neglected, emerge into renown.

Sarah Palin - now don't laugh - is writing a book. Not just reading a book, writing a book. Actually, in the word of the publisher, she's 'collaborating' on a book. What an embarrassment! It's one of these 'I told you,' books that jocks do.

I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.

When 'Watchmen' was published in 1986, the vast majority of comics readers deemed it a watershed in comics history. The 12-part serial comic book was widely acclaimed as a genius subversion of the superhero genre, and it did much to popularize comics to adults.

I wouldn't say the world is my parish, but my readers are my parish. And especially the readers that write to me. They're my parish. And it's a responsibility that I enjoy.

Books never pall on me. They discourse with us, they take counsel with us, and are united to us by a certain living chatty familiarity. And not only does each book inspire the sense that it belongs to its readers, but it also suggests the name of others, and one begets the desire of the other.

I remember how a man once got in touch with me to tell me that he was so engrossed in my book that he had to take a day off from work just so that he could finish reading it. Such kind of responses from my readers is extremely endearing, and it keeps me going.

After my first book, many of my readers came back to tell me that the female characters I had created were not strong enough. I have consciously rectified that in my next four books. In any case, it's true that women run the world, and men would do better to listen to them!