Reader Not Opening Quotes & Sayings

Books. They are lined up on shelves or stacked on a table. There they are wrapped up in their jackets, lines of neat print on nicely bound pages. They look like such orderly, static things. Then you, the reader come along. You open the book jacket, and it can be like opening the gates to an unknown city, or opening the lid of a treasure chest. You read the first word and you're off on a journey of exploration and discovery. — David Almond

The celebrated opening image of 'The Love Song of J. Alfred Prufrock' is another case in point:
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table ...
How, the reader wonders, can the evening look like an anaesthetised body? Yet the point surely lies as much in the force of this bizarre image as in its meaning. We are in a modern world in which settled correspondences or traditional affinities between things have broken down. In the arbitrary flux of modern experience, the whole idea of representation - of on thing predictably standing for another - has been plunged into crisis; and this strikingly dislocated image, one which more or less ushers in 'modern' poetry with a rebellious flourish, is a symptom of this bleak condition. — Terry Eagleton

But a situation that takes place at the opening of a novel always refers you to something else that has happened or is about to happen, and it is this something else that makes it risky to identify with me, risky for you the reader and for him the author; and the more gray and ordinary and undistinguished and commonplace the beginning of this novel is, the more you and the author feel a hint of danger looming over that fraction of "I" that you have heedlessly invested in the "I" of a character whose inner history you know nothing about, as you know nothing about the contents of that — Italo Calvino

In that house, Rob read. Rather, Jackie read to him, but she felt as if he were reading along with her. With the opening of a book, a shift occurred in his eyes and he nestled an inch deeper into her lap while angling his chin upward, and he seemed to age a year or two. Not a reader herself, Jackie went to the local library for the first time and pulled the popular titles: the Berenstain Bears, Richard Scarry wordbooks, Dr. Seuss, Eric Carle. — Jeff Hobbs

While the goal of a book is to create a positive emotional experience for the reader, the goal of the opening is to set the stage, to pull the reader in. — Darynda Jones

Child, unless you are opening a dictionary, you start at the book's opening page and you read the story through. If it's terribly dreadful, then just put it down and move on. What I will not tolerate is reading ahead. It's not fair to the reader or to the author. If they meant to have their books read backwards, they would surely have written them that way! — Camron Wright

The boarding school memoir or novel is an enduring literary subgenre, from 1950s classics such as The Catcher in the Rye to Curtis Sittenfeld's Prep. Doust's recognisably Australian contribution to the genre draws on his own experiences in a West Australian boarding school in this clever, polished, detail-rich debut novel. From the opening pages, the reader is wholly transported into the head of Jack Muir, a sensitive, sharp-eyed boy from small-town WA who is constantly measured (unfavourably) against his goldenboy brother. The distinctive, masterfully inhabited adolescent narrator recalls the narrator in darkly funny coming-of-age memoir Hoi Polloi (Craig Sherborne) - as does the juxtaposition of stark naivety and carefully mined knowingness.' - Bookseller+Publisher — Jon Doust

I just wasn't sure it was a good idea to approach heroing the way I'd always approached detecting. Can you really shake the world until justice falls out? — Seanan McGuire

As a child, she'd been a great reader, finding the ultimate escape within the pages of a story. She learned that opening a book was like opening a set of double doors - the next step would take her inside to Neverland or Nod, Sunnybrook Farm or Mulberry Street. — Susan Wiggs

Few problems are less recognized, but more important than, the accelerating disappearance of the earth's biological resources. In pushing other species to extinction, humanity is busy sawing off the limb on which it is perched. — Paul R. Ehrlich

Every story is an act of trust between a writer and a reader: each story, in the end, is social. Whatever a writer sets down can help or harm a community of which he or she is a part. When I write I can imagine a child in California wishing to give away what he's just seen- a wild animal fleeing though creosote cover in the desert, casting a bright-eyed backward glance or three lines of overheard conversation that seem to contain everything we need understand to repair the gaping rift between body and soul. I look back at that boy turning in glee beneath his pigeons and know it can take a lifetime to convey what you mean, to find the opening. You watch, you set it down. Then you try again. — Barry Lopez

Lately she can read a novel in two hours. She has always been an avid reader, but these days she can read much faster. The colors, the conversations, everything is much more vibrant and inclusive, as if opening a book releases genies trapped inside. The scenes and people between their covers sometimes seem more vivid than real life, with their sunny, pearl-toothed characters, the witty conversation, the handsome stranger squeezed into a subway car or knocking about on the street. Sometimes, when she finishes a book at record speed, Dana feels a slight letdown, as if a good friend has hung up the phone in the middle of a conversation. — Susan H. Crawford

How many times have you opened a book, read the first few sentences and made a snap decision about whether to buy it? When it's your book that's coming under this casual-but-critical scrutiny, you want the reader to be instantly hooked. The way to accomplish this is to create compelling opening sentences. — Nancy Kress

I call myself a feminist. Isn't that what you call someone who fights for women's rights? — Dalai Lama

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

That's one of the most bewitching things about romance for me, as a reader and writer. Romances harbor hope for the reader. They create a direct emotional experience of certainty and potential to bridge the dark moments and help lead us into the light. No small wonder that romance is the source of all fictional genres and that romance continues to outsell every other form of human literary output. Hope is a magical thing, hard-won and easily snuffed. Anyone can point out ways for us to stay disappointed, compromised, and anxious, but opening anyone's eyes to possibilities helps them dream harder and reach further. Any book that can do that deserves a place on my shelves. — Damon Suede

I may sound naive, since everyone's decided the next two years are going to be all about 2016, but I look at what's happened over the years when there's been divided government. That's when we've done tax reform, that's when we've done entitlement reform - to move this economy forward on these big issues. — Rob Portman

Neither man nor angel can discern hypocrisy, the only evil that walks invisible except to God alone. — John Milton

Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen. — Nancy Kress

"Hello there, cutie," he drawled. "I thought I smelled you."
"How's the leg?"
His grin turned a little less friendly, more bared teeth than smile. "Hurt like a son of a b*tch."
"Sorry about that."
"I bet you are."
He stepped closer. I stepped back.
"Don't worry," he said. "I forgive you for the leg. I like a little spirit in my fillies." His look sent a shiver through me. "Makes them more fun to break. Now where's that big ox of a boyfriend?"
He moved toward me, I sidestepped, leading him away.
"You wanna play chase, cutie? I'm really good at it. How about we let your boyfriend and Ramon have their fun while we have ours and - ?" — Kelley Armstrong

As with other paired bracketing devices (such as parentheses, dashes and quotation marks), there is actual mental cruelty involved , incidentally, in opening up a pair of commas and then neglecting to deliver the closing one. The reader hears the first shoe drop and then strains in agony to hear the second. In dramatic terms, it's like putting a gun on the mantelpiece in Act I and then having the heroine drown herself quietly offstage in the bath during the interval. It's just not cricket. Take the example, 'The Highland Terrier is the cutest, and perhaps the best of all dog species.' Sensitive people trained to listen for the second comma (after 'best') find themselves quite stranded by that kind of thing. They feel cheated and giddy. In very bad cases, they fall over. — Lynne Truss

The opening lines of a book are so important. You really need to somehow charm your reader. If you can't get her attention in the first pages, you may have lost her. There has to be an ambience. — Tatiana De Rosnay

Reading [poetry], you know, is rather like opening the door to a horde of rebels who swarm out attacking one in twenty places at once - hit, roused, scraped, bared, swung through the air, so that life seems to flash by; then again blinded, knocked on the head - all of which are agreeable sensations for a reader (since nothing is more dismal than to open the door and get no response) ... — Virginia Woolf

To what or whom does Lizzie Harris direct the imperative title of her startling first book, Stop Wanting? To the reader, the narrator, to desire itself, or to lack? This is a work of complexly, ambiguously layered narratives and identities. The opening poem asserts I want to say what happened / but am suspicious of stories. These lines become an ars poetica for the whole of this painful and exceptional collection in which the unspeakable is stubbornly confronted by a searing eloquence. This is a commanding debut. — Lynn Emanuel

I think pineapple is very sexy. It reminds me of bikinis and the beach. — Penn Badgley

A few days after I began my short story, I returned to his desk and handed him my updates. He pushed his wire-rimmed reading glasses way down on his nose and focused on the two pages. "Okay, you got a beginning; you got yourself a middle and an end. You got a wing-dinger opening line. But you don't have an establishing paragraph. Do you know what that is?"
He didn't wait for me to answer.
"It's kinda like an outdated road map for the reader," he said. "It gives the reader a general idea of where you're taking him, but doesn't tell him exactly how you intend to get there, which is all he needs to know. — John William Tuohy

I can't go as far as Barthes in killing off the author, but I'm with him on the importance of the reader. We are the ones, after all, who exist long after the author (the real, physical being) is in the grave, choosing to read the book, deciding if it still has meaning, deciding what it means for us, feeling sympathy or contempt or amusement for its people and their problems. Take just the opening paragraph. If, having read that, we decide the book isn't worth our time, then the book ceases to exist in any meaningful fashion. Someone else may cause it to live again another day in another reading, but for now, dead as Jacob Marley. Did you have any idea you held so much power? — Thomas C. Foster

I hate Iran. I hate the Iranian government. It's a cruel and evil government. — Doris Lessing

If your reader has been given a rousing opening, he will usually then sit still for at least some exposition. But be sure to follow that chunk of telling with one or more dramatized scenes. That's much more effective than being given section after section of telling. — Nancy Kress

An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this. — Stephen King

Probably all of us, writers and readers alike, set out into exile, or at least into a certain kind of exile, when we leave childhood behind ... The immigrant, the nomad, the traveler, the sleepwalker all exist, but not the exile, since every writer becomes an exile simply by venturing into literature, and every reader becomes an exile simply by opening a book. — Roberto Bolano

The evil of predatory global capitalism and empire has spawned the evil of terrorism — Chris Hedges

It's the opening line of a football game returned for a touchdown. Or fumbled.

It's what orange juice is to breakfast, the first minutes of a blind date, a salesman's opening remarks.

It sets the tone, lights the stage, greases the skids for everything to follow.

It's the most important part of everything you'll ever write because if it doesn't work, whatever follows won't matter. It won't get read.

It's your opening paragraph. And enough can't be said about its importance.

Seduction. That's basically what leads are all about--enticing the reader across the threshold of your book, novel or article--because nothing happens until you get 'em inside.

And you literally have only seconds to do it because surveys show that eight out of ten people quit reading whatever it is they've started after the first fifty words. — Lionel Fisher