Face Reader Quotes & Sayings

Magnus looked at her meditatively. 'I think,' he said, 'there isn't much that Jace wouldn't do for you, if you asked him.'
Clary opened her mouth and then shut it again. She thought of the way Magnus had always seemed to know how Alec felt about Jace, how Simon felt about her. Her feelings for Jace must be written on her face even now, and Magnus was an expert reader. She glanced away. — Cassandra Clare

When you were born, did your parents shove a book of world history in your face? No, absolutely not. They gave you what you could handle, and that's exactly how you need to treat the reader. — A.J. Flowers

A triumphant grin on his face, dressed in a familiar suit made of slippery-looking material, but with a portrait of another author whom only a very devoted reader would recognize, — Lemony Snicket

I had already gained the door; but, reader, I walked back
walked back as determinedly as I had retreated. I knelt down by him; I turned his face from the cushion to me; I kissed his cheek; I smoothed his hair with my hand.
"God bless you, my dear master!" I said. "God keep you from harm and wrong
direct you, solace you
reward you well for your past kindness to me. — Charlotte Bronte

Now that so many years have passed, now that I remember with the benefit of an understanding I didn't then have, I think of that conversation and it seems implausible that its importance didn't hit me in the face. (And I tell myself at the same time that we're terrible judges of the present moment, maybe because the present doesn't actually exist: all is memory, this sentence that I just wrote is already a memory, this word is a memory that you, reader, just read). — Juan Gabriel Vasquez

There is one final point, the point that separates a true multivolume work from a short story, a novel, or a series. The ending of the final volume should leave the reader with the feeling that he has gone through the defining circumstances of Main Character's life. The leading character in a series can wander off into another book and a new adventure better even than this one. Main Character cannot, at the end of your multivolume work. (Or at least, it should seem so.) His life may continue, and in most cases it will. He may or may not live happily ever after. But the problems he will face in the future will not be as important to him or to us, nor the summers as golden. — Gene Wolfe

I love to walk through snow, to climb mountains, to smell the fresh air and I love to dream about flying. Soaring through the air, watching the earth from above, feeling the wind in my face and touching the clouds would be an amazing experience. — Oliver Neubert

The biggest challenge of my career, which is something that authors of genre fiction face all the time, is writing something fresh and new and at the same time meeting reader expectations. — Julia Quinn

Give me your hands," I said.
I studied his palms. "Yes, she'll forgive you. She'll realize you saved her."
"You're a palm reader now?"
"Yes."
"When did you learn how to do that?"
"While you were sleeping."
"I waste so much time sleeping. What else do you see?"
"I see food. Max is going to bring food."
"Do you see cake?"
"No, no cake."
"Let me see your hands," he said.
I raised an eyebrow.
"I learned while you were talking." He studied my palms. "Your scars cross over the lines in your hands, like you have two lives... One to mess up and one to get right."
"That's convenient. What else do you see?"
"I see you happy," he said.
"Yeah?" I asked.
He nodded. "And I see you."
My fingers itched to reach out and touch his face, to make sure I'd still know him in the dark.
"I see you, too," I said. — Shalanda Stanley

Good writing is like a bomb: it explodes in the face of the reader. — Nuruddin Farah

Horror, let's face it, is basically pretty dumb. You're writing about events that are preposterous, and the trick is to dress them up in language so compelling that the reader doesn't care. — T.E.D. Klein

The writer trusts nothing she writes-it should be too reckless and alive for that, it should be beautiful and menacing and slightly out of control ... Good writing ... explodes in the reader's face. Whenever the writer writes, it's always three or four or five o'clock in the morning in her head. — Joy Williams

Reader! Bruder! What a foolish Hamburg that Hamburg was! Since his supersensitive system was loath to face the actual scene, he thought he could at least enjoy a secret part of it - which reminds one of the tenth or twentieth soldier in the raping queue who throws the girl's black shawl over her white face so as not to see those impossible eyes while taking his military pleasure in the sad, sacked village. — Vladimir Nabokov

Even in our deepest, most lasting friendships, we never speak as openly as when we face a blank page and address a reader we do not know. — Michel Houellebecq

This is such a different time, and we are such a different-sized magazine. And yes, today the average reader is older, but we have a wide span of ages. You can enter 'Allure' as a 14-year-old and read about acne, and then in your 60s you can read about face lifts and injections and everything in between. — Linda Wells

I write about the emotional crises that we face in our lives. Readers tell me that they identify with my characters. They know them. They are them. I'm an everyday woman writing about everyday people facing not- so-everyday challenges. And believe me, I love readers like you to bits. I've built my career one reader at a time. I owe a dept of gratitude to you all! — Barbara Delinsky

Disaster is rarely as pervasive as it seems from recorded accounts. The fact of being on the record makes it appear continuous and ubiquitous whereas it is more likely to have been sporadic both in time and place. Besides, persistence of the normal is usually greater than the effect of the disturbance, as we know from our own times. After absorbing the news of today, one expects to face a world consisting entirely of strikes, crimes, power failures, broken water mains, stalled trains, school shutdowns, muggers, drug addicts, neo-Nazis, and rapists. The fact is that one can come home in the evening
on a lucky day
without having encountered more than one or two of these phenomena. This has led me to formulate Tuchman's Law, as follows: "The fact of being reported multiplies the apparent extent of any deplorable development by five- to tenfold" (or any figure the reader would care to supply). — Barbara W. Tuchman

He sat there studiously bent over his work (Bill saw him), which lay in a slant of crisp white winterlight, his face sober and absorbed, knowing that to be a librarian was to come as close as any human being can to sitting in the peak-seat of eternity's engine. — Stephen King

Is this about Archer? Please don't tell me you're upset about us, because ... I mean, you're dead."
She floated closer to me, until she was right in my face. At first I thought she was going to spit ectoplasm on me or something, but then I saw her lips moving again. I wasn't an expert lip-reader, but she was close enough and speaking slowly enough that I was able to make out what she said. "I told you," her pale lips mouthed, "that I'd haunt your ass."
I stared at her mouth, horrified, as she smirked. And then,just like that, she was gone. The air near my face wafted sligtly, like someone had just opened a window.
"I don't need this!" I said to the empty room. "Seriously, plate? FULL."
But there was no reply. — Rachel Hawkins

Movie or no, you should never put pictures of the book's characters on the cover. That only cramps the reader's fantasy. You force him to keep seeing the faces of the actors in the movie. For someone who has seen the movie first and then, out of curiosity, goes on to read the whole book, that might not be so bad. But anyone who reads the book first is faced with a dilemma. During the reading he sees the faces of all the characters in his mind's eye. Faces he wants to assemble with his own fantasy. No matter how those faces may be described. Despite your superfluous descriptions of noses, eyes, ears, and hair color, each reader constructs his own faces in his own imagination. Three hundred thousand readers; that's three hundred thousand different faces for each character. Three hundred thousand faces that are destroyed at one fell swoop by that one face in the movie. As a reader, it's pretty tough to remember that imaginary face after seeing the actor on the screen. Two — Herman Koch

After all, reading is arguably a far more creative and imaginative process than writing; when the reader creates emotion in their head, or the colors of the sky during the setting sun, or the smell of a warm summer's breeze on their face, they should reserve as much praise for themselves as they do for the writer - perhaps more. — Jasper Fforde

But to demand that a work be "relatable" expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer. The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual's solipsism. — Rebecca Mead

The ideal reader's the same, and I suppose this person has never had a face or a gender or an age. It's just some kind of unknown other who will be sympathetic and read each word carefully and understand what I'm writing about. I suppose every writer feels this. — Paul Auster

Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book. — Helen Dunmore

You can run but you can't hide from a face reader. — Richard Lacey

If fiction and fantasy books are escapism, then let an author write them so as to better equip the reader to face reality by the end. — Brett Armstrong

I never had a book get angry or yell at me, never had a book show disappointment in me or consider me stupid because I didn't understand a line or needed to reread a paragraph or didn't know a word, never had a book mock me, never had a book turn its back on me or slap me in the face or fire me from reading it or decide it was in love with a faster, more intelligent, handsomer reader, I never even had a book get bored with me, or question my logic, I never had a book look suddenly crestfallen because I shut it and left it on its own, I've never met a book too shy to come into the bathroom with me or under the covers, I never met a book that refused to read me to sleep. — Mark Frutkin

Sometimes I would see myself as a book with bad binding. You know, like one more reader, one more face-down on the bed and I was going to spill everything, lose control — Jerry Pinto

Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution. — Chris Abani

I'm a fan of meeting readers face to face, at reader events, where we're able to sit down and take some time to talk. Too often, at regular book signings, I meet readers who have traveled six or eight hours to see me, and I'm unable to spend more than a few short minutes chatting with them as I sign books. — Suzanne Brockmann

At the end of every short story the reader should feel as if a cloud has been lifted from the face of the moon. — Michael Chabon

When you wrote it didn't matter if hysteria sometimes came up in your face and voice (unless, of course, you let it find its way into your "literary voice") because writing was done in merciful privacy and silence. Even if you were partly out of your mind it might turn out to be all right: you could try for control even harder than Blanche Dubois was said to have tried, and with luck you could still bring off a sense of order and sanity on the page for the reader. Reading, after all, was a thing done in privacy and silence too. — Richard Yates

And then they started deleting the protest reviews.
That was my line. When they started to stamp out dissent, actually to make it disappear with virtually no excuse for doing so ... that's not neglect. That's not an overwhelmed person or people trying to figure it out. That's an entity that has decided that they do not care, that they have moved on from the issue, do not see it as an issue, and is trying to avoid bad press. Or they are too far down the line to backtrack on what they've been doing and save face. They're content with their wildly inconsistent policy enough to no longer care what effect it is having on their user base.
If you try to silence dissent, then something is very, very wrong. — G.R. Reader

Good writing never soothes or comforts. It is no prescription, neither is it diversionary, although it can and should enchant while it explodes in the reader's face. — Joy Williams

I ought to be able to invent words capable of blowing the odor of corpses in a direction other than straight into mine and the reader's face. — Franz Kafka

Before the magisterial mess of Trevor Thomas's house, the orderly houses that most of us live in seem meagre and lifeless
as, in the same way, the narratives called biographies pale and shrink in the face of the disorderly actuality that is a life. The house also stirred my imagination as a metaphor for the problem of writing. Each person who sits down to write faces not a blank page but his own overfilled mind. The problem is to clear out most of what is in it ... The goal is to make a space where a few ideas and images and feelings may be so arranged that a reader will want to linger awhile among them, rather than to flee, as I wanted to flee from Thomas's house. — Janet Malcolm

A person who is conscientiously pro-choice must understand that he or she is a legal ally, willingly or unwillingly, with the pro-abortion position. If you the reader have taken a pro-choice position to avoid either extreme camp, you must squarely
face the reality that from a legal standpoint you have chosen the pro-abortion camp. — R.C. Sproul

The Road is not a record of fatherly fidelity; it is a testament to the abyss of a parent's greatest fears. The fear of leaving your child alone, of dying before your child has reached adulthood and learned to work the mechanisms and face the dangers of the world, or found a new partner to face them with. The fear of one day being obliged for your child's own good, for his peace and comfort, to do violence to him or even end his life. And, above all, the fear of knowing - as every parent fears - that you have left your children a world more damaged, more poisoned, more base and violent and cheerless and toxic, more doomed, than the one you inherited. It is in the audacity and single-mindedness with which The Road extends the metaphor of a father's guilt and heartbreak over abandoning his son to shift for himself in a ruined, friendless world that The Road finds its great power to move and horrify the reader. — Michael Chabon

Every time you open a book for the first time, there is something akin to safe-breaking about it. Yes, that's exactly it: the frantic reader is like a burglar who has spent hours digging a tunnel to enter the strongroom of a bank. He emerges face to face with hundreds of strongboxes, all identical, and opens them one by one. And each time a box is opened, it loses its anonymity and becomes unique: one is filled with paintings, another with a bundle of banknotes, a third with jewels or letters tied in ribbon, engravings, objects of no value at all, silverware, photos, gold sovereigns, dried flowers, files of paper, crystal glasses, or children's toys
and so on. There is something intoxicating about opening a new one, finding its contents and feeling overjoyed that in a trice one is no longer in front of a set of boxes, but in the presence of the riches and wretched banalities that make up human existence. — Jacques Bonnet

For weeks Octavio returned to the shelter of the trees. The woman would appear as the sun reached midday. She would walk to the edge of the trees, find her chair and drag it to the boat pond. Every Sunday the same chair, the same spot. Every Sunday a book.
He needed only one word to imagine a hundred stories: she -
was a dancer; cooling her feet after a morning of twists and leaps.
was the daughter of a sea captain, remembering her childhood as the toy boats crossed the pond.
was an empress hiding among her subjects, shielding her face with a scarf made from the silk of ten thousand worms. Five thousand green, five thousand blue.
was a teacher, a lover of learning, patient and gentle with her students.
She - was a reader.
He had a library. — C.S. Richardson

Here I am in the garden laughing an old woman with heavy breasts and a nicely mapped face how did this happen well that's who I wanted to be at last a woman in the old style sitting stout thighs apart under a big skirt grandchild sliding on off my lap a pleasant summer perspiration that's my old man across the yard he's talking to the meter reader he's telling him the world's sad story how electricity is oil or uranium and so forth I tell my grandson run over to your grandpa ask him to sit beside me for a minute I am suddenly exhausted by my desire to kiss his sweet explaining lips. — Grace Paley

The only mainstream American household I know well is the one I grew up in, and I can report that my father, who was not a reader, nevertheless had some acquaintance with James Baldwin and John Cheever, because Time magazine put them on its cover and Time, for my father, was the ultimate cultural authority. In the last decade, the magazine whose red border twice enclosed the face of James Joyce has devoted covers to Scott Turow and Stephen King. These are honorable writers; but no one doubts it was the size of their contracts that won them covers. The dollar is now the yardstick of cultural authority, and an organ like Time, which not long ago aspired to shape the national taste, now serves mainly to reflect it. — Jonathan Franzen

I would write:
"The soft melting hunk of butter trickled in gold down the stringy grooves of the split yam."
Or:
"The child's clumsy fingers fumbled in sleep, feeling vainly for the wish of its dream."
"The old man huddled in the dark doorway, his bony face lit by the burning yellow in the windows of distant skycrapers."
My purpose was to capture a physical state or movement that carried a strong subjective impression, an accomplishment which seemed supremely worth struggling for. If I could fasten the mind of the reader upon words so firmly that he would forget words and be conscious only of his response, I felt that I would be in sight of knowing how to write narrative. — Richard Wright