Quotes About Writer

Of course I'm a black writer... I'm not just a black writer, but categories like black writer, woman writer and Latin American writer aren't marginal anymore. We have to acknowledge that the thing we call "literature" is more pluralistic now, just as society ought to be. The melting pot never worked. We ought to be able to accept on equal terms everybody from the Hasidim to Walter Lippmann, from the Rastafarians to Ralph Bunche.

A handwritten letter carries a lot of risk. It's a one-sided conversation that reveals the truth of the writer. Furthermore, the writer is not there to see the reaction of the person he writes to, so there's a great unknown to the process that requires a leap of faith. The writer has to choose the right words to express his sentences, and then, once he has sealed the envelope, he has to place those thoughts in the hands of someone else, trusting that the feelings will be delivered, and that the recipient will understand the writer's intent. How childish to think that could be easy.

The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy-the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops

I don't think of myself as a metafictional writer at all. I think of myself as a classic writer, a realist writer, who tends to have flights of fancy at times, but nevertheless, my feet are mostly on the ground.

The weirdest thing to me is that magazines would never do this for their writers. They would never hire a writer who writes for another magazine; they want to have their own stable of writers. Newsweek would never hire a TIME writer, and TIME would never hire a Newsweek writer - but they would both hire the same photographer to shoot a cover for them.

Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!

The writer is the duelist who never fights at the stated hour, who gathers up an insult, like another curious object, a collector's item, spreads it out on his desk later, and then engages in a duel with it verbally. Some people call it weakness. I call it postponement. What is weakness in the man becomes a quality in the writer. For he preserves, collects what will explode later in his work. That is why the writer is the loneliest man in the world; because he lives, fights, dies, is reborn always alone; all his roles are played behind a curtain. In life he is an incongruous figure.

I wouldn't buy somebody's album on a dare if they called him a musician's musician. I don't write to be a writer's writer. I don't want to be like the little-magazine writer.

- I don't want to be a writer so I can write about my life. I want to be a writer to escape from it. + Then you shouldn't be a writer.

It's become fashionable these days to say that the writer writes because he is not whole, he has a wound, he writes to heal it, but who cares if the writer is not whole; of course the writer is not whole, or even particularly well.

When I came into consciousness as a writer when I was in my early 20s, I just assumed that a writer did - a poet writer did everything all at once. I would write poetry, and while writing poetry I would also write work in the world - if I could get into the world.

No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.

I am saying what comes out, because I'm really not a methodical writer. I'm not a good building writer, where you are like "well, I going to make a song today, and I think it will be a pop song." Some people are great at it and it's beautiful. If I am feeling musical and I pick up the guitar, usually something will eventually come out and I'll see where it goes.

Writers are funny about reviews: when they get a good one they ignore it-- but when they get a bad review they never forget it. Every writer I know is the same way: you get a hundred good reviews, and one bad, andyou remember only the bad. For years, you go on and fantasize about the reviewer who didn't like your book; you imagine him as a jerk, a wife-beater, a real ogre. And, in the meantime, the reviewer has forgotten all about the whole thing. But, twenty years later, the writer still remembers that one bad review.

The biggest difference between a writer and a would-be writer is their attitude toward rewriting. . . . Unwillingness to revise usually signals an amateur.

When I was in the writers' room, all these writers were like, "Ugh, another star that they gave a writing-producing credit to." But then within like an hour, they were like, "You're really a writer." "Yeah, I really am. I'm a writer, and a director, and a producer, and an actor, and a painter, and I do all that stuff in the Lush Life." It was great.

My dad was an editor and a writer, and that's really where I would have liked to have gone. But the genetic link was not intact there, so I wound up going into business. But I love to write, still. I'm not a great writer, but I enjoy it.

The irresistible proliferation of graphomania shows me that everyone without exception bears a potential writer within him, so that the entire human species has good reason to go down into the streets and shout: we are all writers! for everyone is pained by the thought of disappearing, unheard and unseen, into an indifferent universe, and because of that everyone wants, while there is still time, to turn himself into a universe of words. one morning (and it will be soon), when everyone wakes up as a writer, the age of universal deafness and incomprehension will have arrived.

The writer in me can look as far as an African-American woman and stop. Often that writer looks through the African-American woman. Race is a layer of being, but not a culmination.

‎If you want to be a writer, you must do two things above all others: read a lot and write a lot…reading is the creative center of a writer’s life…you cannot hope to sweep someone else away by the force of your writing until it has been done to you.

That's one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.

If you give a little credit to the concept of the artist, I think you ought to indulge excesses a bit, because that reflects the personality of the writer. Now if a joke is in bad taste or it's not funny, okay, that's awhole different thing, but how you craft a joke is really what the writer's job is, and I don't think that technique should be subject to any editorial constraints.

The writer who is a real writer is a rebel who never stops.

And if you're gonna be a writer, you just truly have to be a writer. You have to throw yourself into it and deal with the negative consequences of that. And there are negative consequences. I mean, there are. But, it's also true that you wouldn't be interviewing me right now if I had worked at the post office. You wouldn't. I would be still writing, but I wouldn't have gotten as far as I've gotten, because I wouldn't have had the time.

If you don't put 99 percent of yourself into the writing, there will be no publishing career. There's the writer and there's the author. The author - you don't ever think about the author. Just think about the writer. So my advice would be, find a way to not care - easier said than done.

... I had never given much credence to the phenomenon of "writer's block". I was more inclined to think of it as "writer's impatience", and to follow Arthur Koestler's dictum: "Soak; and wait.

I was a writer before 'Eat, Pray, Love,' and I'll be a writer after it's over. It's what I want to do for the rest of my life.

When success happens to an English writer, he acquires a new typewriter. When success happens to an American writer, he acquires a new life.

I love writing literary stuff. My favorite writer is definitely Edgar Allan Poe - so imaginative and prolific. My second favorite writer would have to be Shakespeare - I love the emotion and human truths he touches on so beautifully.

If anyone asks me whether I like being a popular writer, I ask them whether they think I'd rather be an unpopular writer.

I see the author as the person who has written; the writer, the one involved in the process of writing. And they're not necessarily friends. The writer is the one I want to reinforce; the author would just feed on the reviews - so I'm in favour of starving him.

Being pregnant taught me how to be a better writer. It was a lesson in negative capability and surrendering to necessity. Suddenly, my body instinctually yielded to the needs of this growing being, and I had no choice but to embrace what was happening and all that lay ahead, even if I was afraid and uncertain. So, while being a parent has made writing more challenging, it has also made being a writer more certain. There's no room to procrastinate; there is to time for fear.

When I was fifteen I wrote seven hundred pages of an incredibly bad novel - it's a very funny book I still like a lot. Then, when I was nineteen I wrote a couple hundred pages of another novel, which wasn't very good either. I was still determined to be a writer. And since I was a writer, and here I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, I thought I would try writing a play, which seems to have worked out a little better.

The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.

Writers like Twain, Whitman, Dickinson, Melville, Louise Erdrich, Toni Morrison, Russell Banks, Carolyn Chute, Alice Walker, so many others that I read coming up as a writer, that helped form my ideas of what it means to be American - and an American writer. I'm always in conversation with them.

I suffer depression only in the sense that I am a writer. We don't have proper jobs to go to. We are on our own all day. Show me a writer who doesn't get depressed: who has a completely stable mood. They'd be a garage mechanic or something.

The literary interview won't tell you what a writer is like. Far more compellingly to some, it will tell you what a writer is like to interview.

Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.

You never know if you're a writer. You can't trust it. If you woke up and said, "I'm a writer," it would be gone. You wouldn't see anything for miles - even the dust would be running away.

By the time I get through writing a score, I know the book better than the book writer does, because I've examined every word, and questioned the book writer on every word.

I guess I still feel that way and yet I'm slightly hesitant to insist on that idea, that it "better be fun for the writer." Or rather, that if it is, then the pleasure is a sign that it's good. Maybe I feel I've read that somewhere, other writers saying it, and I just think there is possibly no formula, and I don't like to read an interview with a writer where they just lay out the doxa of what quality is. It can seem brittle to do that.

Don't be discouraged by writer's block. Writer's block just means you need to listen to other music.

I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.

All third world literature is about nation, that identity is the fundamental literary problem in the third world. The writer's identity is insecure because the nation's identity is not secure. The nation doesn't provide the third world writer with a secure identity, because the nation is colonized, it's oppressed, it's part of somebody else's empire.

I think that very often younger writers don't appreciate how much hard work is involved in writing. The part of writing that's magic is the thinnest rind on the world of creation. Most of a writer's life is just work. It happens to be a kind of work that the writer finds fulfilling in the same way that a watchmaker can happily spend countless hours fiddling over the tiny cogs and bits of wire. ... I think the people who end up being writers are people who don't get bored doing that kind of tight focus in small areas.

As a writer, I have to admit, there is something darkly compelling about Alzheimer's because it attacks the two things most central to a writer's craft - language and memory, which together make up an individual's identity. Alzheimer's makes a new character out of a familiar person.

Some people talk of writer's block - you got all of these ideas but nothing happens. The truth is, there's no such thing as writer's block. It's to the degree that you want to write. The thing is that these things show up whenever they feel like it.

If you can get sexual attention and then (or therefore) succeed as a writer - or [fill in career blank] - that means you're a writer worthy of literary respect?