Quotes About Writer

There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.

The best advice that an accomplished writer could give a beginning writer is probably, "Find your slide and then grease it." Almost every writer that wants a rewarding career, in terms of money and status and number of readers, finally finds a certain genre or certain style that he or she sticks with until reaching a critical mass of readership. And I've violated this from the get-go.

There’s a writer for you,” he said. “Knows everything and at the same time he knows nothing.” [narrator]It was my first inkling that he was a writer. And while I like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person. It’s like actors, who try so pathetically not to look in mirrors. Who lean backward trying—only to see their faces in the reflecting chandeliers.

I didn't really think I would be a musician. I always thought I'd be a writer. I wanted to be a writer in college, but I thought I could be a better musician. I loved the process of writing music and lyrics more than I loved the process of sitting at my computer and writing. Because of that, I thought I would be a better musician than a writer.

I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.

I think the biggest advice I can offer is don't just pick one story and stop, write as much as you can, as many stories as you can. The best thing about being a writer is, a writer's craft is nearly perfect because a writer can go anywhere and do his craft.

I'm a fifty-three-year-old writer who can remember being a ten-year-old writer and who expects someday to be an eighty-year-old writer.

A man can write one book that can be great, but this doesn't make him a great writer-just the writer of a great book. . . I think a writer has to extend very widely, as well as plunge very deep, to be a great novelist.

The writer's genetic inheritance and her or his experiences shape the writer into a unique individual, and it is this uniqueness that is the writer's only stuff for sale.

I was writing everything. I grew up in Albany, New York, and I was never any farther west than Syracuse, and I wrote Westerns. I wrote tiny little slices of life, sent them off to The Sewanee Review, and they always sent them back. For the first 10 years I was published, I'd say, "I'm a writer disguised as a mystery writer." But then I look back, and well, maybe I'm a mystery writer. You tend to go where you're liked, so when the mysteries were being published, I did more of them.

If you're going to be a writer you should sit down and write in the morning, and keep it up all day, every day. Charles Bukowski, no matter how drunk he got the night before or no matter how hungover he was, the next morning he was at his typewriter. Every morning. Holidays, too. He'd have a bottle of whiskey with him to wake up with, and that's what he believed. That's the way you became a writer: by writing. When you weren't writing, you weren't a writer.

I want to be identified as a writer, not a Southern writer, not a woman writer, not a woman from this or that place, but unfortunately it doesn't always happen.

When I look at Perfidia, I think, "That's a Pulitzer Prize winner. That's a National Book Award winner." It's not going to get it. It's going to be shelved in crime and it's just the way it is. I've done something that no one else has ever done; I've started out as a mystery writer, a police writer, and a crime writer, and I became something entirely different.

Things have changed in Latin America now. We mostly have democratic governments in Latin America, so the position of the writer has changed. It is not as Neruda used to say, that a Latin American writer walks around with the body of his people on his back. Now, we have citizens, we have public means of expression, political parties, congress, unions. So, the writer's position has changed, we now consider ourselves to be citizens - not spokespeople for everybody - but citizens that participate in the political and social process of the country.

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

See, I'm not the type of writer that has 400 songs in a suitcase someplace on the shelf. I'm sort of a rise-to-the-occasion-type of writer, so when I know I'm going to record, I get in the mood to write.

I think Taylor Swift is a really good artist. I feel like her personality shines through everything she does, her music, her fashion, her style. She won Album of the Year, and she’s a really good writer. I’m a song writer so I respect artists who write their own songs. She won Album of the Year when she was 18 or something like that so, I think she’s dope.

Mom's a writer, so I grew up reading scripts and I have a real respect for them and I know how much thought goes into creating a role, so I'm always interested to find out what was the thought process of the writer and how best can I convey it rather than trying to change it to suit myself.

Novels do take charge of the writer, and the writer is basically a kind of sheepdog just trying to keep things on track.

I've never translated more than one book by any author. But I'm fascinated by translators who have, like Richard Zenith, who's translated so much of Fernando Pessoa's work. I get restless for a new kind of influence. The books I've translated are books I want to learn from as a writer, to be intoxicated by. And translation is an act of writing in itself. It's an act of recreation - of a writer's cadence and tone and everything that distinguishes the voice in the book.

I'm sort lucky in that for me, I'm a writer now. I started as an actor but I'm a writer and so things like 'Wilfred' and shows like that are where I escape to.

And at the end of the day, there was an attempt to suppress a book. The book wasn't suppressed. It's freely available in whatever it is, close to 50 languages. There was an attempt to suppress the writer. And I'm happy to say the writer wasn't suppressed.

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.

Usually I'm trying to turn something around or turn it inside out and see what's underneath. I know that probably sounds incredibly vague but I never set out to be likeable or funny or anything like that. I'm just trying to tell the story in the best way that I can and serve the writer because it's really about the writer.

It is difficult to call myself a writer, even when I stand at a podium to receive a prize, I feel uncomfortable calling myself a writer—I am merely a word criminal.

It was only after two years' work that it occurred to me that I was a writer. I had no particular expectation that the novel would ever be published, because it was sort of a mess. It was only when I found myself writing things I didn't realise I knew that I said, 'I'm a writer now.' The novel had become an incentive to deeper thinking. That's really what writing is—an intense form of thought.

... 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.

We need to give out portrayal of ourselves. Every non-Indian writer writes about 1860 to 1890 pretty much, and there is no non-Indian writer that can write movies about contemporary Indians. Only Indians can. Indians are usually romanticized. Non-Indians are totally irrepsonsible with the appropriation of Indians, because any time tou have an Indian in a movie, it's political. They're not used as people, they're used as points.

I used a video camera, and shot on film cameras at school and stuff, but I had a lot more training as a writer. I kind of live like a writer. I get up and I write. I've done that my whole life.

We're looking at a lot of race cars as inspiration for our starships. It's wonderful. It's surreal. I didn't want to be a writer. I wanted to be a Star Trek writer, so to be able to craft a new iteration of the show with new characters and a whole new adventure and whole new way of telling stories that you haven't been able to tell on Star Trek is honorable and it's a dream come true. It's hard to articulate that.

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.

Farber had a huge effect on me as a writer. I don't mean I write like him. Farber is, first of all, a great stylist, a great writer. Anyone can read Manny Farber's film criticism, whether that person is a novelist, a poet, another critic, a historian, and learn a lot about writing by reading him.

I am a writer (and one day I'll be an author). For a long time I was a bookseller (who wrote) or a TV producer (who wrote), but for the last decade or so, its been "writer."

I think we all have a certain number of "coming of age" songs, and then a writer has to expand and grow into more varied and specific themes. And the music industry is, like Jawbreaker says, "selling kids to other kids," so it makes sense that those early songs in a writer's life are often the ones that catch people's ears, and later work is more difficult and less immediate.

If the writer were more like a reader, he’d be a reader, not a writer. It’s as uncomplicated as that.

Limited points of view let the writer dispense - and the reader gather - information from various corners of the story. It all becomes a kind of dance, with the writer guiding the reader through the various twists and turns. The challenge is keeping readers in step, while still managing to surprise.

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.

To struggle against censorship, whatever its nature, and whatever the power under which it exists, is my duty as a writer, as are calls for freedom of the press. I am a passionate supporter of that freedom, and I consider that if any writer were to imagine that he could prove he didn't need that freedom, then he would be like a fish affirming in public that it didn't need water.

I think there's a time as a writer when you want to see the best things in life, and you go out wherever you go with your dreams as a writer or a composer.

I loved Cookie [Mueller]. She was a much better writer than actress. She shouldn't have stuck with me in the beginning; she should have immediately become a writer. She would have had more of a chance.

It is comparatively easy to become a writer; staying a writer, resisting formulaic work, generating ones own creativity - thats a much tougher matter.

I became a writer not because my father was one - my father made false teeth for a living. I became a writer because the Irish nuns who educated me taught me something about bravery with their willingness to give so much to me.

What I teach is literary criticism and comparative literature and so on and that's my function, but from time to time it's possible for me actually to help a writer. I read something and something strikes me then, I feel I can talk to that writer about it.

If you find yourself imitating another writer, that doesn't have to be a bad thing, especially if you are a young or a new writer. However, you should be conscious of exactly how you are imitating him - word choice, sentence structure, motifs? - and think about why you're doing 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?

If there's anything weirder than an introverted writer going to lots of social functions, it's an introverted writer being converted into an accidental guru.

I'm a writer-director-actor, which I've always kind of enjoyed. I compared it to the Olympic biathlon. "Not only can he cross-country ski, but he's a terrific marksman as well." I want people to say, "You mean that writer performed a tracheotomy?" That's right, I do everything.

The writer's only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies.