I think of every book as a single entity, and some have later gone on to become a series, often at the request of readers.
I think when you've had success, publishers and reviewers and readers are willing to let you try something new if you've already proven yourself. They're excited about what you're doing, you have people interested in it, and actually waiting for it. It's empowering.
I tend to only read comics written by friends or people I've known. And I'm not a great comic reader.
I'm lucky to have a job doing something I really love to do, and I'm happy to accept the pressures of relentless deadlines or reader expectations as necessary evils. It's probably not as stressful as mining coal or leading men into battle.
I grew up a big comic book reader, as a kid, and I love the whole fanboy crowd.
First person allows deeper insight into the protagonist's character. It allows the reader to identify more fully with the protagonist and to share her world quite intimately. So it suits a story focused on one character's personal journey. However, first person shuts out insights into other characters.
Readers have actually changed the way I've done things, changed the course of my career even, about four or five times. Just from reader feedback.
First and foremost, I consider myself a storyteller. And I'm endlessly fascinated with people, with what they do and why... and how they feel about it. Which means I'm interested in romance fiction. I was drawn to it, as both a reader and a writer, at the very beginning of my career. It's my kind of storytelling.
I think that's a hallmark of a really good story that it has readers that it speaks to more than others.
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.
I'm not very much of a reader really, because I find much of it very bad, very uninteresting, very speculative.
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.
Part of the transaction between writer and reader is the pleasure of building a community and encouraging people to play along.
What if most of the technologies readers and cinemagoers are presented with in bestselling books and blockbuster movies are not science fiction, but science fact? What if they currently exist on the planet, but are suppressed from the masses?
Teaching Plato in Palestine shows how philosophical thinking can illuminate important topics-in particular, the problem of finding ways to engage people with opposed ideologies in fruitful debate. The lively narratives, based on the author's experiences of working with various groups interested in using philosophical tools to clarify their thought and action, will engage a wide range of readers.
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.
I think it's important that readers know that not every celebrity is a freak.
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.
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.
The annual award of $5,000 goes to an author for a meritorious book published in the previous year for children or young adults. Scott O'Dell established this award to encourage other writers--particularly new authors--to focus on historical fiction. He hoped in this way to increase the interest of young readers in the historical background that has helped to shape their country and their world.
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.
Nothing is more fortifying than learning that you have a real reader, a reader who truly responds both accurately and actively. It gives you courage, and you feel, I can crawl out on the branch a little further. It’s going to hold.
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