Quotes About Writer

One of the most useful parts of my education as a writer was the practice of reading a writer straight through - every book the writer published, in chronological order, to see how the writer changed over time, and to see how the writer's idea of his or her project changed over time, and to see all the writer tried and accomplished or failed to accomplish.

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.

The writer walks out of his workroom in a daze. He wants a drink. He needs it. It happens to be a fact that nearly every writer of fiction in the world drinks more whisky than is good for him. He does it to give himself faith hope and courage. A person is a fool to become a writer. His only compensation is absolute freedom. He has no master except his own soul and that I am sure is why he does it.

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.

People ask me, 'What do you do?' And I tell them I'm a writer, but always with the silent reservation, 'I am, of course, not really a writer. Hemingway was a writer.'

A serious life, by definition, is a life one reflects on, a life one tries to make sense of and bear witness to. Truth in a memoir is achieved not through a recital of actual events; it is achieved when the reader comes to believe that the writer is working hard to engage with the experience at hand. What happened to the writer is not what matters; what matters is the large sense that the writer is able to make of what happened.

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.

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

The only difference between a writer and someone who wants to be a writer is discipline.

Meggie Folchart: Having writer's block? Maybe I can help. Fenoglio: Oh yes, that's right. You want to be a writer, don't you? Meggie Folchart: You say that as if it's a bad thing. Fenoglio: Oh no, it's just a lonely thing. Sometimes the world you create on the page seems more friendly and alive than the world you actually live in.

I do not believe that it is necessarily the duty of the writer to give a voice to his community. If a writer is true to his vocation, to his or her vocation, the very process of creativity enlarges these human horizons. It provides insights, even when you're not writing, when your writing's not dealing with a concrete political situation.

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.

A writer writes. If you want to be a writer, write.

I probably am a cranky writer, but I am actually a fairly nice, normal person. Since I'm a grouchy writer, of course I have friends whose books are doing way better than mine.

Love your material. Nothing frightens the inner critic more than the writer who loves her work. The writer who is enamored of her material forgets all about censoring herself. She doesn't stop to wonder if her book is any good, or who will publish it, or what people will think. She writes in a trance, losing track of time, hearing only her characters in her head.

‎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.

Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.

I'm not a writer's writer. I'm not a craftsman. I could be, and that would be a one-book-a-year operation.

I wanted to be a writer all my life. Since I was 10. And then at a certain point I began to assume I was one, which is rich, I know. I didn't meet a writer until I was nearly an adult, so I had no idea what I'd bet the farm on.

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.

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.

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.

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.

Read Becoming a Writer by Dorothea Brande. Then do what it says, including the tasks you think are impossible. You will particularly hate the advice to write first thing in the morning, but if you can manage it, it might well be the best thing you ever do for yourself. This book is about becoming a writer from the inside out. Many later advice manuals derive from it. You don't ­really need any others, though if you want to boost your confidence, "how to" books seldom do any harm. You can kick-start a whole book with some little writing exercise.

There's this message to comedians in particular, that you shouldn't write it, and a television writer should write it. And that's a prevailing conventional wisdom that I think is really wrong. That's not to say that television writers aren't great, but I think that the belief that some comedy writer's going to be able to capture your voice is naive.

I want studios that make story-based games to start taking their stories more seriously. And that doesn't mean hiring a big shot writer from Hollywood; it means that story becomes integral to making your game. I don't see how you can achieve that without having an in-house writer that sits next to the designer, helping them make their levels, talking with the engineers about where we can tell the story more dynamically, pushing at technology.

Yes?’ he asked, looking at me over the sheet. ‘I’m a writer temporarily down on my inspirations.’ ‘Oh, a writer, eh?’ ‘Yes.’ ‘Are you sure?’ ‘No, I’m not.’ ‘What do you write?’ ‘Short stories mostly. And I’m halfway through a novel.’ ‘A novel, eh?’ ‘Yes.’ ‘What’s the name of it?’ ‘”The Leaky Faucet of My Doom.”‘ ‘Oh, I like that. What’s it about?’ ‘Everything.’ ‘Everything? You mean, for instance, it’s about cancer?’ ‘Yes.’ ‘How about my wife?’ ‘She’s in there too.

I don't believe in writer's block or waiting for inspiration. If you're a writer, you sit down and write.

I learned to write from reading. I had no writing classes. It's part of my thinking as the writer-author, reading, but then I also want to bring this into my characters, who also read and think. There's that great quote from Virginia Woolf - it's very simple: "...books continue each other." I think when you're a writer, you're also, hopefully, a reader, and you're bringing those earlier works into your work.

As a writer, I could write in Canada and still get the American benefits. But I wanted to come down here for the good weather and for the parties, I want to be social too. Being in LA is really great for that, for just running out and grabbing coffee with another writer. I couldn't do that in Canada. I love Los Angeles, and I love New York too; I just couldn't raise three kids there.

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.

Ernest Hemingway has been the most important influence on me as a writer. But at a certain point as a writer, I realized that he was writing about good people doing good things. This did not match my experience of life and so I found my sentences stretching and becoming less plain.

Purely the idea of writing a lot of books doesn't make you a great writer, but it might be that the process of doing a lot of writing will make you a much better writer.

I aspired to be a writer and then I just started getting acting work. I really didn't have a direct goal, I just knew I wanted to be in this industry telling stories and doing this for a job. I thought my path was going to be as a writer, but I'm pretty happy doing it as an actor.

When you're young, your perception of what it means to be a writer is often less about the writing and more about what seems to be the accompanying life: speeches and travel and hanging out with other writers. You think that when you get published, your life will clarify itself to you somehow. But when you don't get published until you're middle-aged you know who you are already, and your life expands to make room for your writing, rather than orbiting around it. You realize that there's no one way to be a writer, and that the job is less of an identity and more of a vocation.

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 can't define myself as a political writer - I don't think I've earned it, and I don't function as a political writer in the way that many of the writers I admire do. It's not simply a question of context, of where I'm writing from - there is much in American society that urgently needs to be written about. I think your work is always engaged with politics in the looser sense of the word - and that looseness is itself a kind of privilege - because politics and culture are evidently intertwined.

I don't believe in writer's block. Think about it - when you were blocked in college and had to write a paper, didn't it always manage to fix itself the night before the paper was due? Writer's block is having too much time on your hands.

I've always defined myself as a writer, I've never decided what it was I was gonna write. [...] I always fancied myself one, but I'm not. I'm so far from a writer.

I'm not a boy-writer, I've never been. I wanted to be a boy-writer when I was young, and I think that held me back. I wanted to be very clever, and funny, but I'm not very clever and not terribly funny. I've finally accepted my limits, and I do what I can do.

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.

A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story. He will never forget the sweet poison of vanity in his blood and the belief that, if he succeeds in not letting anyone discover his lack of talent, the dream of literature will provide him with a roof over his head, a hot meal at the end of the day, and what he covets the most: his name printed on a miserable piece of paper that surely will outlive him. A writer is condemned to remember that moment, because from then on he is doomed and his soul has a price.

Books are just dead words on paper and it is the readers who bring the stories alive. Previously, writers wrote a book and sent it out into the world. A couple of months after publication letters from readers might arrive. And, leaving aside the professional reviews, it is really the reader's opinions that the writer needs. They vote for a book - and a writer - with their hard earned cash every time they go into a bookstore (or online - that's my age showing!) and buy a book.

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.

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.

They talk about a lot of different things, but I think they definitely have the same school of thought as my husband [Games Of Thrones creator David Benioff], which is that the difference between being a writer and not being a writer is finishing.