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The reader's impression is one of a dream - the only thing that's left upon waking is the memory of a melody at the end of a concert.
In Necessary Marriage, I tried to repeat entire phrases without the reader noticing. My work doesn't have the rigor of music, but I hope it alludes to it.
I have said that each aspect of the novel demands a different quality of the reader. Well, the prophetic aspect demands two qualities: humility and the suspension of the sense of humour.
The subject, however various and important, has already been so frequently, so ably, and so successfully discussed, that it is now grown familiar to the reader, and difficult to the writer.
The idea of a poem as a message in a bottle means that it's sent out towards some future reader and the reader who opens that bottle becomes the addressee of the literary text.
There's been no poet, no great poet in the history of poetry who hasn't also been a great reader of poetry. This is sometimes distressing to my students when I tell them this.
When you find it you become the secret addressee of a literary text and I felt that their reader had been left out of this experience of reading poetry or what the experience of poetry was.
Story involves action. Action towards an end not to be foreseen (by the reader) but also towards an end which, having been reached, must be seen to have been from the start inevitable.
As a writer, you always read in two minds: You read as a reader and you enjoy it, and you look at it as a writer, and you just admire the architecture and the construction.
No book that is written for an external purpose is going to be a passionately felt book for the writer or the reader. I don't see the point in doing that.
The paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
The aim of my writing is to utterly remove the distance between author and reader so that the book becomes a sort of semipermeable membrane through which feelings, ideas, nutrients pass.
I define a thriller as a big-stakes, multiple-viewpoint novel involving suspense, action, and mystery, in which the reader doesn't know everything but usually knows more than any single character.
I've always loved J.R.R. Tolkein and recently, Christine Feehan and J.K.Rowling. There are many as I'm an avid reader, but those three come to the fore.
The first hit on the nervous system is the one I'm most interested in, because I think if you hit the reader emotionally, the reader can't guarantee the lessons they would like to learn.
A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.
I read Popular Mechanics, Popular Science, Reader's Digest... I read some responsible journalism, and from that, I form my own opinions. I also happen to be intelligent, and I question everything.
At the very core of what a comic is, time and space are kind of the same thing. When your reader moves her eyes across the page, she should be moving through time in your story.
To my way of thinking and working, the greatest service a piece of fiction can do any reader is to force him to lay it down with a higher ideal of life than he had when he took it up.
The writer who cannot sometimes throw away a thought about which another man would have written dissertations, without worry whether or not the reader will find it, will never become a great writer.
With a single drop of ink for a mirror, the Egyptian sorcerer undertakes to reveal to any chance comer far-reaching visions of the past. This is what I undertake to do for you, reader.