It's a grave mistake in publishing, whether you're talking about Internet or print publication, to try to play to a limited repertoire of established reader interests.
Once in a while, when I first started to write pieces, I would try to write to a reader other than myself. I always failed. I would freeze up.
Fantasy stories will always be popular, as there are always readers who are willing to escape, freely, to the worlds that the authors create, and spend time with the characters we give life to.
A word (...) is never the destination, merely a signpost in its general direction; and whatever (...) body that destination finally acquires owes quite as much to the reader as to the writer.
As a reader, I don't feel a story has an obligation to make me happy. I want stories to show me a bigger world than the one I know.
As a reader, I notice political views regardless of whether or not the book is fiction. What annoys me is when said views do nothing to advance the narrative.
The worst headline is one that contains a factual error. Bad headlines are ones that are bland, and don't tell the reader anything specific, like 'Democrats at it Again.'
Naturally I drew register a little exaggerated, in order to create something new in the sense of a sublime literature that sings of despair only in order to oppress the reader, and make him desire the good as the remedy.
When I write, I tend to be quite cut off from the world. At that point of time, I'm not thinking about editors, publishers or readers. I write the story the way it comes to me.
In 1927, if you were stuck with idle time, reading is what you did. It's no accident that the 'Book-of-the-Month Club' and 'The Literary Guild' were founded in that period as well as a lot of magazines, like 'Reader's Digest,' 'Time,' and 'The New Yo...
I think Walking Dead is one of the friendliest new reader type books in that every time a new trade is shipped out, a new issue is shipped out at the same time.
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
The bourgeois novel is the greatest enemy of truth and honesty that was ever invented. It's a vast, sentimentalizing structure that reassures the reader, and at every point, offers the comfort of secure moral frameworks and recognizable characters.
[last lines] Michael Berg: I was fifteen. I was coming home from school. I was feeling ill. And a woman helped me.
Jerry: Have you been doing those Reader's Digest 'Word-Power' columns again?
We talk about a free press. These people hide, they make a lot of money off the media. They hide behind the slogans of free press, and then they can come out with crap like that. It's just garbage. It's insulting to the readers.
And at some point I would like to talk my publisher into doing an anthology of my poetry alongside some teen readers' poetry. It would be fun, and really wonderful to get their stuff out there.
The truth is, everything ultimately comes down to the relationship between the reader and the writer and the characters. Does or does not a character address moral being in a universal and important way? If it does, then it's literature.
Journalism should be more like science. As far as possible, facts should be verifiable. If journalists want long-term credibility for their profession, they have to go in that direction. Have more respect for readers.
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.
In general, I write for ages 12 and up - although I've received emails from readers between the ages of seven and seventy. My books are science fiction.
