Adrian Tomine Quotes

The Web critic relies on his or her readers for attentiveness and approval.

It would be easier to write a novel without reader input, but I feel the fiction is richer for it.

I think it's good that we're not embarrassed that we're comic book creators anymore. It's good that people are able to make a good living at doing it, and not doing the traditional sort of mainstream fare.

I'm happy Lootera has sparked off a discussion.

Chats are so new to newspapers, historically. But they're so incredibly valuable because editors/reporters/columnists get to find out what's on the minds of our readers, what you think we should be writing about, what ticks you off, what makes you happy. Sometimes it can confirm what you think readers are interested in; sometimes it can turn you around 180 degrees.

Readers are made by readers - it is so obvious it is almost banal to say it.

You have to channel the interpretation and performance into 100 people. And with the audience, the critics.

I thought I had a great opportunity when I started doing my comic book in 1972. I thought there was so much territory to work in.

I love the fact that you collaborate with your readers when you write a book.

When I meet thousands of fans of the comic - when I realize every one of them can recite the Lantern Corps oath ('In Brightest Day, in blackest night...') - I know how important this is to people.

Every time I collaborate with an artist, I want to surprise fans. I want to do something new.

If I get a chance to write a comic book or do a voice in an Adult Swim show, I do it. It's much more fulfilling to me and I get to work with people who I'm a fan of.

The comic book world is so dangerous, you know what I mean? You say one thing and people - they're ravenous - they are very opinionated fans. But they're great fans.

I like doing theaters. I like being up close and personal with the fans. It's really cool.

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.

I think of myself as the eyes and ears and voice of the reader.

I wish my readers took less of my time - about a third of my working time goes to them - but I love and need them all.

I am stunned by how much time and effort I must spend marketing my book and interacting with my readers. With social media, you don't just publish a book and figure you've done your part; your fans want to talk to you, have a conversation.

In order to figure this artmaking stuff out, it's trial and error and experimentation, and takes some time and hard thinking. Putting work out in many forms and stages is an extension of how I see things. I feel the art process is best served when it invites comments and constructive criticism from people.

My website bulletin board is the place I interact with my readers.

I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.

It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.

I receive about 10,000 letters a year from readers, and in the first year after a book is published, perhaps 5,000 letters will deal specifically with that piece of work.

I've just got into the convention circuit in the last couple of years and it's great to see all these people who are still interested in the show. It's so gratifying to hear that so many people enjoyed the work that Erin and I have done.

I know a lot of people who read 'Sweet Tooth' are the kind of people who don't read a lot of other comics. Whatever it was, I'm just glad it happened.