I made a decision to write for my readers, not to try to find more readers for my writing.
If a novelist has created vivid characters, interesting relationships, settings the reader can easily imagine, and intriguing stories, a screenwriter has loads to work with. The challenge comes with deciding what to cut and what to keep.
I long for, not a writer's retreat - I can write in any situation - but a reader's retreat.
Five to 10 years from now, if not sooner, the vast majority of 'The New Republic' readers are likely to be reading it on a tablet.
Readers are what it's all about, aren't they? If not, why am I writing?
I felt like challenging myself and challenging my readers with something darker and heavier. I don't know how to explain it, because I'm not a political person. I have two political stories, and that's it: 'Human Diastrophism' and 'Poison River'.
It wasn't until I started to do 'Poison River' that the readership started falling. 'Poison River' started out very slowly and simply, but then it got really dense and complicated. I don't know, I think the readers just got fed up or burned out. They started dropping off.
I don't know whether a poem has be there to help to develop something. I think it's there for itself, for what the reader finds in it.
Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
I always have one or two, sometimes more, Navajo or other tribes' cultural elements in mind when I start a plot. In Thief of Time, I wanted to make readers aware of Navajo attitude toward the dead, respect for burial sites.
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.
The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.
I've always been an avid reader. If I don't have a book in the car, I'll stop and pick one up just to have something to read. I don't even remember learning to read.
Whenever I've been stuck on a project, it's always brought me solace to the return to books that moved me in the past. It's a nice way to get outside my own head; and it brings me back to one of the most important reasons I write at all: to bring some pleasure to readers, to make them think or feel.
The kids I talk to are readers, and the craziest, the most dedicated readers you will ever see.
No book that is written for an external purpose is going to be a passionately felt book for the writer or the reader. I don't see the point in doing that.
I like moral judgment to emerge from the reader. We are being sold a very simplistic morality by our leaders at a time when nuance and understanding are at a premium.
I never studied writing, but I'd always been a reader and had a secret fantasy about being a writer.
I didn't think much about foreign readers when I began 'Naruto,' but I knew that many of the artists who influenced me had already been accepted overseas.
I have realised just how important it is to readers to feel that fictional stories are based on reality.
I think of novels as houses. You live in them over the course of a long period, both as a reader and as a writer.
If the book is a mystery to its author as she's writing, inevitably it's going to be a mystery to the reader as he or she reads it.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
I've had to work hard all my life, and I will never, ever ask a fan or reader to pay for something I've rushed. It's not fair to them, and I will never give them anything except my absolute best.
I like connecting the abstract to the concrete. There's a tension in that. I believe the reader or listener should be able to enter the poem as a participant. So I try to get past resolving poems.
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