Reader Expectations Quotes

I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.

This is the point being missed by readers who lament Liquor's lack of hot sex scenes, probably because they aren't old enough to understand that a passionate relationship could be about anything other than sex.

The public is composed of numerous groups whose cry to us writers is: 'Comfort me.' 'Amuse me.' 'Touch my sympathies.' 'Make me sad.' 'Make me dream.' 'Make me laugh.' 'Make me shiver.' 'Make me weep.' 'Make me think.'

When you're playing a character in a book, there's already a lot of pressure because all of the millions of people who have read the series have been able to envision and become very attached to the characters.

If you look at the history of how information flows, there was a time that newspapers were kind of in the place that Google and Facebook are now - how do we get more people to buy a copy? Then there was a shift in the early 20th century. They needed to do better, and readers and consumers demanded that of them.

People think children's books are about teddy bears and little flowers. I realize people sometimes don't know what to do with my books because they say, 'Is it a children's book, and what age group?'

Just imagine how interesting it would be if I were to publish a romance of the "Secret Annexe." The title alone would be enough to make people think it was a detective story.

As an adult, I'll give a writer 50 pages. If the book doesn't interest me in 50 pages, I'll say the heck with it - there are just too many other things to read. A child won't give you 50 pages.

The only obligation to which in advance we may hold a novel, without incurring the accusation of being arbitrary, is that it be interesting.

Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.

A book cannot apologize for what people may think it should be. It has to be authoritative. That's what I want as a reader - I want to be confident that the book will do its job.

Life is hard, and a lot of people come home tired from work. If they're gonna spend half an hour reading, they want some entertainment and a sense of achievement. So that's what I give them. That's all I'm trying to do. Is that really so wrong?

When I get about five readers I can rub together in one genre, I leave that genre and go somewhere else. And this is due to a vow that I made myself when I started writing - that if I had any success at all, I would not be bound to one form of writing. That I would write what moves me. The only way I can see me surviving and doing more than one book is to present the readers with a Dan Simmons novel, with whatever tropes and protocols from whatever genre I want to borrow them. If that builds a Dan Simmons readership, well then, okay. Otherwise, forget about it. I'd rather drive a truck.

He who knoweth the reader, doeth nothing more for the reader. Another century of readers - and spirit itself will stink.

The detective story itself is in a dilemma. It is a vein which is in danger of being worked out, the demand is constant, the powers of supply variable, and the reader, with each one he absorbs, grows a little more sophisticated and harder to please, while the novelist, after each one he writes, becomes a little more exhausted.

If you write in category, you write knowing there's a framework, there are reader expectations.

When I'm writing for Esquire, my conscious thought is, I'm not writing for American Scholar.

Hardcover books are fairly expensive these days and to read one requires a significant commitment of time in our busy society. So I want to make sure that when readers buy one of my books they get something they're familiar with.

If you do a serious presidential bio, you want to supply the reader with maximum material because otherwise you're offending the reader. A president for many people is a serious thing and they want to know everything.

It is a myth of publishers that people want to read easy things.

Reading isn't about managing expectations. In certain ways, writing is. You're trying to send signals early in a book about what might be coming later, but I think worrying about the kind of chatter around a book is something I try and stay as far away from when I'm reading.

I do think they [French] view my writing itself as exotic - though that's probably not the best term for it - to a small extent, mainly because I say things that most French writers would probably hesitate to say for fear of offending someone or upsetting public sensibilities. I don't think that answers the question, but I'm not much good at figuring readers out or I would probably be writing bestsellers.

When I decided to write 'The God of Small Things', I had been working in cinema. It was almost a decision to downshift from there. I thought that 300 people would read it. But it created a platform of trust.

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.

The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.