The written word is weak. Many people prefer life to it. Life gets your blood going, and it smells good. Writing is mere writing, literature is mere. It appeals only to the subtlest senses—the imagination’s vision, and the imagination’s hearing—and the moral sense, and the intellect. This writing that you do, that so thrills you, that so rocks and exhilarates you, as if you were dancing next to the band, is barely audible to anyone else. The reader's ear must adjust down from loud life to the subtle, imaginary sounds of the written word. An ordinary reader picking up a book can't yet hear a thing; it will take half an hour to pick up the writing's modulations, its ups and downs and louds and softs. 

An intriguing entomological experiment shows that a male butterfly will ignore a living female butterfly of his own species in favor of a painted cardboard one, if the cardboard one is big. If the cardboard one is bigger than he is, bigger than any female butterfly ever could be. He jumps the piece of cardboard over and over again, he jumps the piece of cardboard. Nearby, the real, living female butterfly opens and closes her wings in vain. 

Films and television stimulate the body’s senses too, in big ways. A nine-foot handsome face, and its three-foot-wide smile, are irresistible. Look at the long legs on that man, as high as a wall, and coming straight toward you. The music builds. The moving lighted screen fills your brain. You do not like filmed car chases? See if you can turn away. Try not to watch. Even knowing you are manipulated, you are still as helpless as the male butterfly drawn to painted cardboard.

Annie Dillard, The Writing Life