By definition, memoir demands a certain degree of introspection and self-disclosure: In order to fully engage a reader, the narrator has to make herself known, has to allow her own self-awareness to inform the events she describes.
All prizes have a role, if they are run with integrity and with a clear focus on reading and quality writing. I don't think any of them is necessary, but they all play an incredibly important role in building a body of literature, in introducing new authors to new readers, and extending reading.
I write for a certain sphere of readers in the United States who on average watch seven and a half hours of multichannel television per day.
I'm a huge classics fan. I love Ernest Hemingway and J.D. Salinger. I'm that guy who rereads a book before I read newer stuff, which is probably not all that progressive, and it's not really going to make me a better reader. I'm like, 'Oh, my God, you should read To Kill a Mockingbird.
Without sounding pompous, I really do feel that I have a set of standards that I must adhere to, even leaving aside considerations of what the readers expect.
I'm proud of what I write and feel endorsed by my readers.
Writing is something that I've always loved. That stems from my love of being a reader.
It's interesting with my blog, because it feels to me less like a blog and more like a forum, because my readers are so funny and leave hysterical comments. And I'm not being humble when I say that very often, the comments are so much better than the post originally was.
My relationship with my readers is somewhat theatrical. One of the main things I try to do in my work is delight my readers.
What really grabs me is when a reader writes to express her personal story and how a book helped her situation, or her acceptance of a situation she can't change. I read some sad cases in my snail and electronic mail. I respond to all I can, affirming that they are the true heroes of life because they are fighting through adversity and surviving.
At the same time, I think books create a sort of network in the reader's mind, with one book reinforcing another. Some books form relationships. Other books stand in opposition. No two writers or readers have the same pattern of interaction.
When you're free of editorial control, you owe it to yourself to obtain feedback from friends and readers. Some take those criticisms to heart and incorporate it into their work, and some ignore them.
I feel like reading really defined me as a writer because I lived my life outside of my own body for so much of my life and I loved it. I've always been a reader. I think living all those stories served me to naturally take that next step to creating.
I majored in journalism at Arizona State University, where I began writing the columns I write now, but I cannot, in good conscience, refer to myself as a writer. I'm a columnist, maybe a journalist, I guess I'm an author, but writer... no. That's not up to me to call myself, that's rather lofty. It's for the reader to decide.
I'm not a big crime reader, but I'm reading Michael Connelly's 'The Reversal.' I'm going back to his novels. I'm also reading Keith Richards' 'Life.' I'm always fascinated by the transition from the innocent late '60s and early '70s and the youth culture becoming an industry.
The only pressure I feel is to write good books. And to not replicate the previous book. Whether you have a thousand readers or a million readers it doesn't change the pressure. I never feel tempted to give the reader what I think the reader wants.
But it seemed to me that as soon as you have computer storage you could put every point you wanted in - make the ones that are less relevant to your central topic, further away or allow the central topic to move as the reader proceeded.
That the Op-Ed page is very important in readers' and the nation's perception of the Times, the perception of its editorial positions, and of its implicit editorial positions as expressed by the publisher's choice of people who are given the freedom to write opinion columns.
At the end of the day, it's about the reader's attachment to and belief in the magical elements that make or break magical realism.
I'm not the best actor I can be, so I'm just working on it. I'm not the quickest reader in the world but when I get an acting book I can read it in two days.
Poetry and prose are of equal importance to me as a reader, and there doesn't seem to be much difference in my own writing.
We were never organized readers who would see a book through to its end in any sory of logical order. We weave in and out of words like tourists on a hop-on, hop-off bus tour. Put a book down in the kitchen to go to the bathroom and you might return to find it gone, replaced by another of equal interest. We are indiscriminate.
Write a nonfiction book, and be prepared for the legion of readers who are going to doubt your fact. But write a novel, and get ready for the world to assume every word is true.
Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors.
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.
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