I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
There was no difference between my characters and the life my readers were going to have to face.
I've seen the odd tarot reader and had my palm read in various countries and explained to me in many strains of broken English. Did I believe a word? To be honest, I didn't understand much, but I loved watching the presentation.
I want you, as a reader, to experience what I experience, to let that other world, that imaginary world that I have created, tell you things about the real world.
Readers are made by readers - it is so obvious it is almost banal to say it.
You become a reader by reading the literature, not by reading the handbooks about it.
Sometimes a book is better than it ever had a right to be because of the history the reader brings to the reading and because of the methods educators use to bring a particular story alive.
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 have always loved 'Stig of the Dump.' I think reading that book made me officially realise that I was a reader.
As readers can probably tell from my books, I love the outdoors.
At the core, I try to write characters who are real people with real insecurities, fears, hopes, and dreams, which is why hopefully readers can identify with them.
Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.
Instapaper wouldn't be of as much value if it weren't for these mobile and e-reader devices. They give you a separate physical context for reading.
The easiest way for readers to connect with characters and feel sympathy is to make the character entertaining, sympathetic and likeable.
Greenwich Village always had its share of mind readers, but there are many more these days, and they seem to have moved closer to the mainstream of life in the city. What was crazy 10 years ago is now respectable, even among the best-educated New Yorkers.
Every kid I meet who's a reader has got something like that, their fantasy world. And science fiction is the best, especially for girls because it's the one place where you can do the forbidden.
I cannot just write a frivolous book, a la-di-da book. Everything isn't la-di-da. There is something that's going to pull you up short. I want to reassure young readers. I want to comfort them, to not fear the unexpected.
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 the first person, the readers feel smart, like it's them solving the case.
I'd like the reader to decide if he is willing to pay minute sums for content. I'd like the economics of web to be controlled between authors and readers, not advertiser.
I used to be a rabid reader, but now it's scripts or nothing - network television is quite relentless, and you can't drop the ball.
When the BBC decided to bring Doctor Who back as a feature film a few years ago, one national newspaper ran a poll to ask its readers who should be the new Doctor, and I topped it.
Novels are a kind of experiment in selfhood, for the reader as well as for the author.
The idea that certain things in life - and in the universe - don't yield up their secrets is something that requires a slightly more mature reader to accept.
The world would be a very sad place if readers could only love one story.
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