Quotes About Authors

Are my characters copies of people in real life? ... Don't ever believe the stories about authors putting people into novels. That idea is a kind of joke on both authors and readers. All the readers believe that authors do it. All the authors know that it can't be done.

I like to read biographies of authors that I love, like Richard Yates. I also like to see what non-fiction authors are out there. My bible is Something Happened. It's one of the greatest books I've ever read. But if I don't read a Dostoevsky soon I'm going to kill myself.

Regardless of whether the authors I've translated have been "dead and canonized," or "living and established," or even simply "emerging," I must put myself to the same, old test: "can I do their texts justice?" I've translated twenty-one books, and except for three commissions, I "hand-picked" all my authors on the basis of whether my own peculiar idiosyncrasies would complement their own.

As 99 per cent of English authors and 100 per cent of American ones [authors] are just such imbeciles, managers and publishers make a practice of asking for every right the author possesses.

I particularly love where I work because I was born, raised, and still live in the Bronx. I work in a Bronx location, so it's very fulfilling to me to be working in my home borough, and working with kids that are a lot like me and who can see themselves in me. My own teaching philosophy is to expose them to books that they might not otherwise read, particularly authors of color, authors whose stories are based in New York City.

Under true peer-review...a panel of reviewers must accept a study before it can be published in a scientific journal. If the reviewers have objections the author must answer them or change the article to take reviewers' objections into account. Under the IPCC review process, the authors are at liberty to ignore criticisms.

Among all kinds of Writing, there is none in which Authors are more apt to miscarry than in Works of Humour, as there is none in which they are more ambitious to excel.

Writing is a vessel...with readers the ocean and authors as its sails.

Don't read newspapers for the news (just for the gossip and, of course, profiles of authors). The best filter to know if the news matters is if you hear it in cafes, restaurants... or (again) parties.

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.

This book had two authors, and they were both the same person.

They [intellectuals] coined most of the slogans that guided the butcheries of Bolshevism, Fascism, and Nazism. Intellectuals extolling the delights of murder, writers advocating censorship, philosophers judging the merits of thinkers and authors, not according to the value of their contributions but according to their achievements on battlefields, are the spiritual leaders of our age of perpetual strife.

We must be authors of the history of our age.

If the new movies do contradict my books in some way, I can probably come up with some hand-waving story that will explain the apparent discrepancy. If there’s one thing we authors are good at, it’s hand-waving.

Authors, like coins, grow dear as they grow old.

The Bible is actually a library of books-some long, some short- written over hundreds of years by many authors. Behind each one, however, was [the] Author: the Spirit of God.

Am I in love? Absolutely. I'm in love with ancient philosophers, foreign painters, classic authors, and musicians who have died long ago. I'm a passionate lover. I fawn over these people. I have given them my heart and my soul. The trouble is, I'm unable to love anyone tangible. I have sacrificed a physical bond, for a metaphysical relationship. I am the ultimate idealistic lover.

I like reading history, and actually most authors enjoy the research part because it is, after all, easier than writing.

All schools of philosophy, and almost all authors, are rather to be frequented for exercise than for weight.

If this nation is to be wise as well as strong, if we are to achieve our destiny, then we need more new ideas for more wise men reading more good books in more public libraries. These libraries should be open to all — except the censor. We must know all the facts and hear all the alternatives and listen to all the criticisms. Let us welcome controversial books and controversial authors. For the Bill of Rights is the guardian of our security as well as our liberty.

When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.

I should have no objection to go over the same life from its beginning to the end: requesting only the advantage authors have, of correcting in a second edition the faults of the first.

I used to do jacket design, and I'm very conscious of covers, and probably meddle more than other authors would.

And when I read, and really I do not read so much, only a few authors, - a few men that I discovered by accident - I do this because they look at things in a broader, milder and more affectionate way than I do, and because they know life better, so that I can learn from them.

Edited by mostly unknown scholars in A.D. 367, compiled from documents written 30 to 110 years after the Christ event by no one who was present at the events, and composed for the most part by unknown authors in the Greek language that Jesus never spoke, it is held up as the only true record of the Christ story.

Successful salesmen, authors, executives and workmen of every sort need patience. The great liability of youth is not inexperience but impatience.

I have preferred to teach my students not English literature but my love for certain authors, or, even better, certain pages, or even better than that, certain lines. One falls in love with a line, then with a page, then with an author. Well, why not? It is a beautiful process.

There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. ... The truth is that when an author begins to write for the sake of covering paper, he is cheating the reader; because he writes under the pretext that he has something to say.

Books choose their authors; the act of creation is not entirely a rational and conscious one.

Authors are sometimes like tomcats: They distrust all the other toms but they are kind to kittens

Authors do not choose a story to write, the story chooses us.

Before publishers' blurbs were invented, authors had to make their reputations by writing.

[Corneille] was inspired by Roman authors and Roman spirit, Racine with delicacy by the polished court of Louis XIV.

The only authors whom I acknowledge as American are the journalists. They, indeed, are not great writers, but they speak the language of their countrymen, and make themselves heard by them.

The thing that helps me do a good job is that I don't feel the need to explain everything about the world to my reader. I'm not writing a history text on the Four Corners. I'm telling a story that's set there. The setting belongs in the background for the most part, and it's easy for fantasy authors to forget that. That's one of the unfortunate parts of Tolkien's legacy, in my opinion. Read the first hundred pages of the Fellowship of the Ring and you start to get pissed, "Shut up about the Shire's museums! Isn't the world supposed to be in peril or something?"

These days I find myself wanting to avoid being pigeon-holed, ghettoized, held in a different category than other authors. And when people ask me if I'm a black writer, or just a writer who happens to be black, I tend to say that it's either a dumb question or a question which happens to be dumb.

Authors of published papers and editors of scientific journals can, unfortunately, be slow to come to terms with criticism, and it's good that we can use blogs to express specific criticisms of published articles and to use social media to disseminate these criticisms.

...I is another. If the brass wakes the trumpet, it’s not its fault. That’s obvious to me: I witness the unfolding of my own thought: I watch it, I hear it: I make a stroke with the bow: the symphony begins in the depths, or springs with a bound onto the stage. If the old imbeciles hadn’t discovered only the false significance of Self, we wouldn’t have to now sweep away those millions of skeletons which have been piling up the products of their one-eyed intellect since time immemorial, and claiming themselves to be their authors!

I decided to work on hand animate because the animators work as authors in every little scene and it brings real soul for characters.

I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).

The Internet is a big boon to academic research. Gone are the days spent in dusty library stacks digging for journal articles. Many articles are available free to the public in open-access journal or as preprints on the authors' website.

We are each the authors of our own lives, Emma. We live in what we have created. There is no way to shift the blame and no one else to accept the accolades.

I, too, am deeply concerned with an overarching idea that dramaturgs are now authors . . .. I am not taking the position that all dramaturgs own copyright, deserve special billing credit, or should receive remuneration akin to that of the playwright. I know from my ears at the Dramatists Guild that almost everyone a writer encounters has suggestions of how to write and rewrite the play or musical to make it work.

Learning the craft as an actor in Los Angeles is a very hard thing to do, in my opinion. We all come from a certain world and when you start learning the craft, you need material to read/study that you can relate to. We do not have too many Latino writers on the West Coast that I was able to relate to (or at least, I didn't know at the time). I came from the streets, so the most published authors had no relation to my world. As soon as I picked up Pinero & Guirgis, it was all over. It was my world, just in a different location. They cracked me open inside and out.

Let us welcome controversial books and controversial authors.

In junior high I read a lot of Stephen King, whose Americana approach to writing was often about "the terror next door" and at the same time I was reading a lot of Clive Barker, who was on the other end of the horror pendulum: insidious and disturbingly psychological. I found it fascinating how these two authors came at horror from two totally different perspectives.

Once you get past the grand normative claims made in the West for literature, especially the novel, in the post-Christian era - that it is a secular substitute for religion, hallmark of modern civilization, a priori liberal and cosmopolitan, with authors appearing to implicitly embody such pious ideals - you encounter a less agreeable reality: parochialism, blinkered views, even racial prejudices of the kind the bourgeoisie have held everywhere.

Quotations (such as have point and lack triteness) from the great old authors are an act of reverence on the part of the quoter, and a blessing to a public grown superficial and external.