Book marketing is like opening doors for your readers to find you, not a stick you hit them with.
Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
World War II is the greatest drama in human history, the biggest war ever and a true battle of good and evil. I imagine writers will continue to get stories from it, and readers will continue to love them, for many more years.
The poet can only write the poems; it takes the reader to complete the meaning.
Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.
I am no indiscriminate novel reader. The mere trash of the common circulating library I hold in the highest contempt.
The only readers we get are people whom our subject interests. No one reads ads for amusement, long or short... Give them enough to take action
Every reader of your ad is interested, else he would not be a reader. You are dealing with someone willing to listen. Then do your level best. That reader, if you lose him now, May never again be a reader
"Best in the world," "lowest price in existence, " etc are at best claiming the expected. But superlative of that sort are usually damaging. They suggestion looseness of expression, a tendency to exaggerate, a careless truth. They lead readers to discount all the statements that you make
The one just consider the average reader s only once a reader, probably. And when you fail to tell them in that ad is something he may never know
One Dilbert Blog reader noted that current research shows that happiness causes success more than success causes happiness. That makes sense to me. There's plenty of research about people having a baseline of happiness that doesn't vary much with circumstances. And given that happy people are typically optimistic, energetic, and fun to work with, I can see how happiness would lead to success.
I end with a word on the new symbols which I have employed. Most writers on logic strongly object to all symbols. ... I should advise the reader not to make up his mind on this point until he has well weighed two facts which nobody disputes, both separately and in connexion. First, logic is the only science which has made no progress since the revival of letters; secondly, logic is the only science which has produced no growth of symbols.
I've been an inveterate reader of literary magazines since I was a teenager. There are always discoveries. You're sitting in your easy chair, reading; you realize you've read a story or a group of poems four times, and you know, Yes, I want to go farther with this writer.
If ebooks mean that readers' freedom must either increase or decrease, we must demand the increase.
One way to determine if a view is inadequate is to check its consequences in particular cases, sometimes extreme ones, but if someone always decided what the result should be in any case by applying the given view itself, this would preclude discovering it did not correctly fit the case. Readers who hold they would plug in to the machine should notice whether their first impulse was not to do so, followed later by the thought that since only experiences could matter, the machine would be all right after all.
But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.
This is the most intimate relationship between literature and its readers: they treat the text as a part of themselves, as a possession.
No matter how true I believe what I am writing to be, if the reader cannot also participate in that truth, then I have failed.
The object of fiction isn't grammatical correctness but to make the reader welcome and then tell a story.... Writing is seduction. Good talk is part of seduction.
Correction of Earlier Entry: 8/01/12We read over the shoulders of giants; books place us in dialogue not just with an author but with other readers.
The detective story itself is in a dilemma. It is a vein which is in danger of being worked out, the demand is constant, the powers of supply variable, and the reader, with each one he absorbs, grows a little more sophisticated and harder to please, while the novelist, after each one he writes, becomes a little more exhausted.
The one thing you have to do if you write a book is put yourself in someone else's shoes. The reader's shoes. You've got to entertain them.
I'm very aware how many distractions the reader has in life today, how many good reasons there are to put the book down.
Two kinds of reading can be distinguished. I call them reading like a reader and reading like a writer ... when you read like a reader, you identify with the characters in the story. The story is what you learn about. When you read like a writer, you identify with the author and learn about writing.
Those who write against vanity want the glory of having written well, and their readers the glory of reading well, and I who write this have the same desire, as perhaps those who read this have also.
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