Children's books are often seen as the poor relation of literature. But children are just as demanding as adult readers, if not more so. I should know. I'm a children's writer myself.
Readers let me know that they like books that have more to them than meets the eye. Had they not let me know that, I never would have written 'The View From Saturday.'
German readers are much like Brits or Americans: They read for the thrill of it, the occasional shudder down the spine, knowing it's not real - but looking over their shoulders anyway, just in case.
I really believe that there is an enormous appetite amongst readers for an originality of vision. In other words, be true to your own dreams and there will always be people who want to hear them.
I have one main reader, Miriam Gomez, my wife. She reads everything I write - I have not finished writing something and she is already reading it.
It has always been something I could do, and it may seem odd that in my case I seem to create an interesting narrative and frustrate the reader's opportunities to follow it at every step.
I think the reason these readers come back to me is because I represent their points of view. It may not be my point of view, but that's OK. Everyone still deserves to have their say.
Gone are the days when a publisher could take out an ad, count on a few reviews, and have an author do a couple of signings. Nowadays, readers want to feel a connection with an author.
Your audience is one single reader. I have found that sometimes it helps to pick out one person-a real person you know, or an imagined person-and write to that one.
All TV can do is capture the spirit of a book because the medium is so utterly different. But I'm very grateful for the readers that Masterpiece Theatre has undoubtedly brought me.
I'm a big, big reader of pretty much everything that Chuck Colson has written. And I consulted with him when I was making some decisions about running for the Senate in the first place.
Not taking the Bible (or other texts based on 'revealed truths') literally leaves it up to the reader to cherry-pick elements for belief. There exists no guide for such cherry-picking, and zero religious sanction for it.
I'm a voracious reader, and I like to explore all sorts of writing without prejudice and without paying any attention to labels, conventions or silly critical fads.
A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
I'm a professional non-fiction reader, that's what I do. But in my 20s we had our own vampire and witch moment, courtesy of Anne Rice, whose books I read and loved.
The key to high concept is that fresh twist. Make it a big one. Wow your reader. Force her to gasp when she comes to that part in your story.
The poem has a social effect of some kind whether or not the poet wills it to have. It has a kenetic force, it sets in motion...elements in the reader that would otherwise remain stagnant.
I don't think anyone wants a reader to be completely lost - certainly not to the point of giving up - but there's something to be said for a book that isn't instantly disposable, that rewards a second reading.
If I am communicating to my readers exactly what the White House believes on any certain issue, that's reporting to them an unvarnished, unfiltered version of what they - the Administration - believe.
I know that books seem like the ultimate thing that's made by one person, but that's not true. Every reading of a book is a collaboration between the reader and the writer who are making the story up together.
There is a neurologist, a woman over at Harvard who wanted me to come talk to them, and in France I have a lot of readers in the sciences. I can't tell you why.
