I really like it when you can step outside of what's come before and find a surprise for the reader and find a surprise for yourself.
Reading asks that you bring your whole life experience and your ability to decode the written word and your creative imagination to the page and be a co-author with the writer, because the story is just squiggles on the page unless you have a reader.
Why did I become a writer? Because I grew up in New York City, and there were seven newspapers in New York City, and my family was an inveterate reader of newspapers and I loved holding a paper in my hand. It was something sacred.
It is more raw and unfettered and I'm more likely going into something you could call extreme cartooning. There's a lot of that in the course of 'Holy Terror.' There are interludes where there are pictures - cartoon pictures - of modern figures and they are all wordless. It's up to readers to put the words in.
The one reader I'm trying to please as I write is me, and I'm pretty difficult to please.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
Books and newspapers assume a "common reader" that is, a person who knows the things known by other literate persons in the culture. Obviously, such assumptions are never identical from writer to writer, but they show a remarkable consistency
I like to think that each book I start is a completely new departure But I’ve learned that whatever you do, readers will have no difficulty assimilating it into what you’ve done before.
The Novelist As Teacher”: “I would be quite satisfied if my novels (especially the ones I set in the past) did no more than teach my readers that their past – with all its imperfections – was not one long night of savagery from which the first Europeans acting on God’s behalf delivered them.
I think if a book has the power to move a reader, it also has the power to offend a reader. And you want your books to have power, so you just have to take what comes with that.
When book and reader's furrowed brow meet, it isn't always the book that's stupid.
Every successful piece of nonfiction should leave the reader with one provocative thought that he or she didn't have before. Not two thoughts, or five - just one. So decide what single point you want to leave in the reader's mind.
I'm also looking for gems that the average reader might have missed.
If you're writing about a character, if he's a powerful character, unless you give him vulnerability I don't think he'll be as interesting to the reader.
A cold, calculating nightmare. Sharp as a finely honed blade. 'The Lucid Dreaming' cuts, separating the flesh before you even know you've been injured. It makes you bleed as a reader.
I think the invitation offered the non-black reader is to join us in this expression of our familiarity and via that joining, come to understand that when black people come together to celebrate and rejoice in black critical thinking, we do so not to exclude or to separate, but to participate more fully in world community. However, we must first be able to dialogue with one another, to give one another subject-to-subject recognition that is an act of resistance that is part of the decolonizing, anti-racist process.
The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative. By their fewness, and by the importance of the reader’s eye, this will be misunderstood by most of that minority which does not wholly ignore it. In the interests, however, of the history and future of photography, that risk seems irrelevant, and this flat statement necessary.
I keep up with everything in terms of health, fitness, nutrition, skin care, hair, nails. Really, everything. I'm an avid reader of every women's health newsletter from every hospital in the country.
Effective readers, even at their earliest levels, read in five to seven word phrases rather than word by word.
But the real life of a writer resides in showing up at the keyboard every day, with the necessary patience and mercy, and making the best decisions you can on behalf of your people. It’s a slow process. It often feels hopeless, more like an affliction than an art form. Most of us will have to find our readers one by one, in other words, and against considerable resistance. If anything qualifies us as heroic, it’s that private perpetual struggle. Put down the magazine, soldier. Forget about the other guy. Remember who you are.
My very identities as a reader and a writer began at the Walt Whitman branch library.
They'll remember you if you're the best reader in class-or if you throw up at lunch.
Freedom of speech trumps political correctness. I would say our magazine would publish an anti-Semitic or Holocaust denying cartoon if it meant Jews around the world were rioting because of it and burning embassies because of a cartoon. We would want to show our readers what all the fuss was about.
Second, the reason to embrace and celebrate these novels as the countercultural event that they are is due largely to the subliminal messages delivered by Harry and friends in their stolen wheelbarrows. Readers walk away, maybe a little softer on the occult than they were, but with story-embedded messages: the importance of a pure soul; love's power even over death; about sacrifice and loyalty; a host of images and shadows about Christ and how essential 'right belief' is for personal transformation and victory over internal and external evils.
You find when you're writing a detective story that you're actually not trying to solve anything. You're trying to stop the reader from solving the puzzle.
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