Reading Technique Quotes

In high school I was very much involved in poetry. You cannot read a poem quickly. There's too much going on there. There are rhythms and alliterations. You have to read poetry slow, slow, slow to absorb it all.

The art of reading is the art of adopting the pace the author has set. Some books are fast and some are slow, but no book can be understood if it is taken at the wrong speed.

I prepare for auditions differently depending on what it is - what the material is, what the project is, who I'm reading for.

In reading, one should notice and fondle details.

I only read the left-hand pages, so I finish books twice as fast.

We recommend for the training of teachers not only a considerable artistic education in general but special attention to the art of reading.

I move my lips when I read -- I'm painfully slow -- so I like really good English.

The secret to speed-reading is moving your lips faster.

When you read the Bible, read for quality not quantity.

As much as I revere great writing, and am still humbled by it, literary activities are no longer esoteric to me. When I read a great novel - something that I could never have written myself - I'm still looking at it a little bit like a technician.

Listen you have to read a book three times before you know it.

When I write, I tend to read it out loud to myself after. I'm a very uncomfortable reader, so it creates a distance between the text and me - it is a new way to see it.

Most of us learn to read by looking at each word in a sentence - one at a time.

The trick is to teach yourself to read in small sips as well as long swallows.

Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.

I used to say, read as much as you can. Now I say, read the best that you can, the stories that resonate with you, the books that are important to you. Try to read, not only as a reader, but also as a writer, to deconstruct how the author is telling his or her story.

Learning to read clusters is not something your eyes do naturally. It takes constant practice.

I don't know who said that novelists read the novels of others only to figure out how they are written. I believe it's true. We aren't satisfied with the secrets exposed on the surface of the page: we turn the book around to find the seams.

It is better to read a little and thoroughly than cram a crude undigested mass into my head, though it be great in quantity.

I recommend the art of slow reading.

I love poetry; it's my primary literary interest, and I suppose the kind of reading you do when you are reading poems - close reading - can carry over into how you read other things.

People are so used to reading novels now, they just read a poem straight through to get the meaning. And that's something totally different from the slow way you read something if it's a tune; which to me a poem has to be.

The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.

If you read quickly to get through a poem to what it means, you have missed the body of the poem.

Poems are not read: they are reread. Reread the poem, then read between the lines, then look at it, then watch it, then peek at it: handle it like an object. Contemplate its shadows, angles and dimensions.