I would be a liar, a hypocrite, or a fool - and I'm not any of those - to say that I don't write for the reader. I do. But for the reader who hears, who really will work at it, going behind what I seem to say. So I write for myself and that reader who will pay the dues.

The 'Reader's Digest' used to run a feature called 'It Pays to Increase Your Word Power.' The new wisdom - post-Trump and Brexit - is that it doesn't.

Truth is often a multiplicity of perspectives, and sometimes the more viewpoints and versions of events there are, the closer the reader gets to an overarching truth.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

There's a unique bond of trust between readers and authors that I don't believe exists in any other art form; as a reader, I trust a novelist to give me his or her best effort, however flawed.

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.

I trust the readers to build their own visual images. To me, that's part of the wonder of reading.

I trust it will not be giving away professional secrets to say that many readers would be surprised, perhaps shocked, at the questions which some newspaper editors will put to a defenseless woman under the guise of flattery.

While the spoken word can travel faster, you can't take it home in your hand. Only the written word can be absorbed wholly at the convenience of the reader.

I dreamed about this as a kid, that I would write - and people would read - a whole series of books. I feel accomplished, giddy, and tired. Mostly, though, I feel thankful. A trilogy is a huge investment on the part of author, publisher, and reader, and I'm grateful that so many people were willing to invest along with me.

I kind of just write what I like to write. I'm thankful that readers of different ages seem to connect to my stories. I don't consciously think about age demographics when I'm working on my comics.

Readers probably haven't heard much about it yet, but they will. Quantum technology turns ordinary reality upside down.

I remember my fourth grade teacher reading 'Charlotte's Web' and 'Stuart Little' to us - both, of course, by E. B. White. His stories were genuinely funny, thought provoking and full of irony and charm. He didn't condescend to his readers, which was why I liked his books, and why I wasn't a big reader of other children's' books.

I wanted to be a teacher, but I was a lousy student, one of the slowest readers. It was a tremendous struggle. But I'm lucky I had some teachers who saw something in me.

When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.

I have a great deal of sympathy for reluctant readers because I was one. I would do anything to avoid reading. In my case, it wasn't until I was 13 and discovered the 'Lord of the Rings' that I learned to love reading.

I think, in a written novel, the way in which you play with the readers' emotion or the way in which you engage the readers' emotions can be very indirect. You could come at it through irony or comedy, etcetera, and you could capture people's sympathies and feelings kind of by stealth if you like.

The easiest way for readers to connect with characters and feel sympathy is to make the character entertaining, sympathetic and likeable.

If I wasn't dyslexic, I probably wouldn't have won the Games. If I had been a better reader, then that would have come easily, sports would have come easily... and I never would have realized that the way you get ahead in life is hard work.

Life wasn't easy growing up; it was frustrating. If I had been a better reader, then that would have come easily, sports would have come easily, everything would have come easily, and I never would have realized that the way you get ahead in life is hard work.

From journalism I learned to write under pressure, to work with deadlines, to have limited space and time, to conduct and interview, to find information, to research, and above all, to use language as efficiently as possible and to remember always that there is a reader out there.

My favorite books are the ones that make me smile for hours after reading them. I want that for my readers, for the sweetness to linger. Sort of like chocolate, but without the calories.

By coincidence and not design, 'Everstar' is written and drawn by an all-female creative team, and it makes me smile to think that there may be young female readers out there, future writers and artists, who get to see that comics doesn't have to be a 'boys' club.'

I was a very keen reader of science fiction.