Quotes About Writer

I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.

To say that a writer's hold on reality is tenuous is an understatement-it's like saying the Titanic had a rough crossing. Writer's build their own realities, move into them and occasionally send letters home. The only difference between a writer and a crazy person is that a writer gets paid for it.

It's akin to style, what I'm talking about, but it isn't style alone. It is the writer's particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There's plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.

The characters created cannot just be a mouthpiece for the writer. When you look at a piece of writing, and it's genuine and it doesn't feel like every character is just a mouthpiece for the writer, but that they've been created in such a way that they're expressing an idea that a writer wants to get across, that's when a story succeeds.

You cannot teach creativity - how to become a good writer. But you can help a young writer discover within himself what kind of writer he would like to be.

But we should ask the question: Why should a writer be more than a writer? Why should a writer be a guru? Why are we supposed to be psychiatrists? Isn't it enough to write and tell the truth? It's not like telling the truth is common. Writers are the earthworms of society. We aerate the soil. That's enough.

Another sex worker and writer I respect put it this way: she said that as a writer, you're not about pleasing people, and as a sex worker it's all about pleasing people. It's all about creating this fantasy. I still feel like as a writer you actually do have put on a show. You can't just hand over your notes. And there is a degree to which you are appealing to the reader's vanity, whether you tell yourself you're doing that or not.

My dad is a successful television producer, director and writer and my mom's a director and writer.

I am of course confident that I will fulfill my tasks as a writer in all circumstances - from my grave even more successfully and more irrefutably than in my lifetime. No one can bar the road to truth, and to advance its cause I am prepared to accept even death. But may it be that repeated lessons will finally teach us not to stop the writer's pen during his lifetime? At no time has this ennobled our history.

A great writer has all 4 - but you can still be a good writer with only 1 and 2.

As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.

The final lesson a writer learns is that everything can nourish the writer. The dictionary, a new word, a voyage, an encounter, a talk on the street, a book, a phrase learned.

Writing itself, if not misunderstood and abused, becomes a way of empowering the writing self. It converts anger and disappointment into deliberate and durable aggression, the writer's main source of energy. It converts sorrow and self-pity into empathy, the writer's main means of relating to otherness. Similarly, his wounded innocence turns into irony, his silliness into wit, his guilt into judgment, his oddness into originality, his perverseness into his stinger.

I have always hated biography, and more especially, autobiography. If biography, the writer invariably finds it necessary to plaster the subject with praises, flattery and adulation and to invest him with all the Christian graces. If autobiography, the same plan is followed, but the writer apologizes for it.

Carl Reiner particularly as a writer, a terrific writer. He's just turning out things.

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.

Many people ask why a writer commits suicide. But I think that people who ask don't know the vanity and the nothingness of writing. I think it is very usual and natural for a writer to commit suicide, because in order to keep on writing he must be a very strong person.

I'm afraid of coaching, of writer's classes, of writer's magazines, of books on how to write. They give me centipede trouble - you know the yarn about the centipede who was asked how he managed all his feet? He tried to answer, stopped to think about it, and was never able to walk another step.

What no wife of a writer can ever understand...is that a writer is working when he's staring out the window.

The whole point about vision is that it's very individual, it's very personal, and it has to be confessional. It has to be something which hurts - the pulling out of it and putting it on the page hurts. Art can be about the individual writer's response to his or her condition, and if that response comes out of a predigested belief about what the audience wants to hear about the writer's condition, then it has no truth, it has no validity. You either write with your own blood or nobody's. Otherwise it's just ink.

I am a super-confident writer, and as a joke writer and as an actress, I'm like, 'I want to go head-to-head with every person.' I am an Indian woman and I'm a kind of double minority in this world.

I never wanted to be "a writer"; I only ever aspired to be an science fiction writer. They'll tear that badge out of my cold dead hands.

Being a writer is a very private, internal process. Ultimately I am more the writer, being an introvert.

I have never really thought of myself as a writer about religion. And I think one of the things that happened to me as a result of all that is that I think it did for some people, many people, obscure the kind of writer that I actually am.

The romantic idea is that everybody around a writer must suffer for his talent. I think a writer is a citizen of humanity, part of his nation, part of his family. He may have to make some compromises.

One likes to think one grows as a writer as one ages, else all you get is an old young writer. Beyond that is the changing landscape of the universe and the stories I choose to tell.

Audiences are very sophisticated and they know the nuts and bolts of the genre - certainly with horror more than others I think. But they attract lots of people, they're much derided as a genre but people go and see them and they're not all dumb. There's some very clever horror films. Stephen King gets a lot of flack for not being a proper writer because he's a horror writer, but I think he writes some brilliant books. I think it's wrong to just bin it before looking at it.

Every writer has to make an emotional journey from artist sitting in attic to being part of a business. The writer of a film is like Tinkerbell. You are only there because people believe in you. The moment they dont, because youre a pain the arse, youve lost.

I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.

Sometimes, in my published complaints about not being a writer, I have recalled the prospect - the yearning to be a writer - as it first formed for me.

Being a woman writer, I would be deceiving myself if I said I write completely through the eye of a man. There's nothing bad in it, but that does not make me a feminist writer. I hate that name. The tag is from the Western world - like we are called the Third World.

As a writer, I always think about who my prototype actors are, in my brain. It's helpful, as a writer, to think about that.

A writer is someone who tells you one thing so someday he can tell his readers another thing: what he was thinking but declined to say, or what he would have thought had he been wiser. A writer turns his life into material, and if you're in his life, he uses yours, too.

I don't believe in writer's block. Most of writer's block is having too much time on your hands. My mantra is that you can always edit a bad page; you can't edit a blank page.

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.

Politics becomes a part of a writer's working life. The writer's protagonists are born in the context of the feelings that this atmosphere evokes. How can writers separate themselves from these feelings and create protagonists that come from Mars? Even writers who only write about psychological or internal issues or about love are writing under their prevailing atmosphere, and their writings will take on the hue of the time, place, and mood of their environment.

It's great to be excited by your profession, whether you are a doctor or a writer. I started writing books when I was in medical school and, by the time I graduated, I realized that writing was more exciting to me than being a doctor. And if I tried to be a doctor and a writer, then both would suffer.

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.

Writer's block is a natural affliction. Writers who have never experienced it have something wrong with them. It means there isn't enough friction-that they aren't making enough of an effort to reconcile the contradictions of life. All you get is sweet monotonous flow. Writer's block is nothing to commit suicide over. It simply indicates some imbalance between your experience and your art, and I think that's constructive.

I think writer is a word without gender, and a good writer observes, absorbs, hopefully empathizes then translates that into character and story. You don’t have to do or be or have experienced, traveled to, but you have to imagine all of that, very well–and believe it completely during the bubble of the work.

Being an editor doesn't make you a better writer - or vice versa. The worst thing any editor can do is be in competition with his writer.

I'm a fantasy writer, called a fantasy writer. But there's very little, apart from one or two basic concepts in 'I Shall Wear Midnight,' which are in fact fantasy. You have sticks that fly, but they're practical broomsticks, with a bloody great strap that you can hold on to so you don't fall off. And you try not to use them too often.

The writer learns to write, in the last resort, only by writing. He must get words onto paper even if he is dissatisfied with them. A young writer must cross many psychological barriers to acquire confidence in his capacity to produce good work-especially his first full-length book-and he cannot do this by staring at a piece of blank paper, searching for the perfect sentence.

Everyone seems to assume that the unscrupulous parts of journalism will be the frivolous or jocular parts. This is against all ethical experience. Jokes are generally honest. Complete solemnity is almost always dishonest. The writer of the snippet merely refers to a frivolous and fugitive fact in a frivolous and fugitive way. The writer of the leading article has to write about a fact he has known for 20 minutes as though he has studied it for 20 years.

If you're a song writer, it's a bit different because you are expressing your own words, feelings, perspective. As an actor, you are doing your best to interpret and express the root of the character's perspective which have been established by the writer. There are parallels of performing. Tapping into your own emotional piggy bank. The biggest commonality is if you are successful in either industry, you get free snacks all the time.

A writer without interest or sympathy for the foibles of his fellow man is not conceivable as a writer.

The man who comes to writing late, but is in essence a writer, may sometimes gain as much as he has lost: his experience of life has given him a subject, he is spared the youthful writer's self-torment and soul-searching.

The similarity between the big directors I've worked with is that they allow the writer to find a way of doing what they want done without saying 'do it this way.' They describe what they want, then letting the writer figure out a way to do it.