Quotes About Writer

Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.

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

When you find a writer who really is saying something to you, read everything that writer has written and you will get more education and depth of understanding out of that than reading a scrap here and a scrap there and elsewhere. Then go to people who influenced that writer, or those who were related to him, and your world builds together in an organic way that is really marvelous.

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.

My abject hatred of actors and the acting world. I went to college as an actor, and halfway through, I switched to playwriting and directing. Then I spent a couple years working in publishing, doing some freelance journalism for The Village Voice and Musician magazine. I thought my life was going to be as a writer, but then I realized I missed performing, so I got into comedy. It was a nice combination of things I was sort of good at. I was a pretty good writer and a decent actor, but I didn't really like acting, and I didn't have the discipline to be a writer.

The inimitable writer Maxine Hong Kingston published a book in 2002 with the title To Be the Poet. However, in contrast to the transformatory distinctions Kingston makes between the conditions of being a prose writer and "the poet," my multigenre impulses incline me to a broader transformation: to be 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.

When a young writer deliberately tries to create an effect, the result is often a little self-conscious and overdone. But why is it so hard for us to glory in what the writer has tried to do, or even in the very fact that the writer has deliberately tried to do something?

Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there. On one level this truth is the swing of the sentence, the beat and poise, but down deeper it's the integrity of the writer as he matches with the language. I've always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence. The language of my books has shaped me as a man. There's a moral force in a sentence when it comes out right. It speaks the writer's will to live.

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.

I don't think I ever have trouble with writer's block. It's different when you make it up as you go - that means you're going to get stuck. I wouldn't call it writer's block, I'd say, "I don't know where the hell this story is going."

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.

You want to be a writer? A writer is someone who writes every day, so start writing. You don't have a job? Get one. Any job. Don't sit at home waiting for the magical opportunity. Who are you? Prince William? No. Get a job. Go to work. Do something until you can do something else.

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.

My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.

There are certain writers I can't read when I'm trying to write because their voices are so distinct. Cormac McCarthy, he's the most different writer from anything I've ever written, but there's something about those really spare sentences that is just tough - it would be too much of an influence. Grace Paley is my favorite writer. Her stuff is so voice-driven, when I read her a lot I want to make my writing more voice-y and dialogue-heavy. I love a lot of stuff in translation.

For a writer, and particularly a writer of my genre, which is the fantastical, I think that it's to my advantage to feel remote from and disconnected from the world of deal making.

When asked how she knows when her writing is where she wants it to be: "I know when it's the best I can do. It may not be the best there is. Another writer may do it much better. But I know when it's the best I can do. I know that one of the great arts that the writer develops is the art of saying, 'No. No, I'm finished. Bye.' And leaving it alone. I will not write it into the ground. I will not write the life out of it. I won't do that."

The act of writing bears something in common with the act of love. The writer, at his most productive moments, just flows. He gives of that which is uniquely himself. He makes himself naked, recording his nakedness in the written word. Herein lies some of the terror which frequently freezes a writer, preventing him from producing. Herein, too, lies some of the courage that must be entailed in letting others learn how one has experienced or is experiencing the world.

More and more, I play myself, as I get older. Even as a writer, I never got typecast. I've always bounced from project to project, or initiated my own things. I was never known as the guy who wrote romantic comedies or sci-fi, or whatever, but that's fun to me. The first two films I ever had made, as a writer, were both thrillers, which was great. There was nothing funny about either of them, or not intentionally. I actually love that.

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.

I had achieved the most important things in my life when I married Joan and had the sons. Given the choice between Joan and the boys, and being a writer, I world give up being a writer without a blink.

It is the little writer rather than the great writer who seems never to quote, and the reason is that he is never really doing anything else.

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.

Since I was a teenager, I had wanted to come to the United States to establish my name as a writer and to establish my freedom. As a writer and artist, I cannot do anything without freedom. For me, freedom is just like the air or water. I cannot write without freedom.

The analytical writer observes the reader as he is; accordingly, he makes his calculation, sets his machine to make the appropriate effect on him. The synthetic writer constructs and creates his own reader; he does not imagine him as resting and dead, but lively and advancing toward him. He makes that which he had invented gradually take shape before the reader's eyes, or he tempts him to do the inventing for himself. He does not want to make a particular effect on him, but rather enters into a solemn relationship of innermost symphilosophy or sympoetry.

But I think there are a set of experiences that turn a potential writer into a working writer, and then there are places in your life were you start to recognize what you want to do.

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

I think if you want to make a recipe for making a writer, have them feel a little out of place everywhere, have them be an observer kind of all the time. And that's a great way to make a writer.

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 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.

First of all, I don't think of myself as a northern Michigan writer. I think of myself as an American writer who happens - and yes, by choice, and for a long time now - to live in this particular place, and where, as the joke goes, there are only three seasons: July, August, and winter.

A writer is like a gypsy. He owes no allegiance to any government. If he is a good writer he will never like any government he lives under. His hand should be against it and its hand will always be against him.

The children's writer not only makes a satisfactory connection between [the writer's] present maturity and his past childhood, he also does the same for his child-characters in reverse - makes the connection between their present childhood and their future maturity. That their maturity is never visibly achieved makes no difference; the promise of it is there.

A writer is someone who has a one-man tent in the desert and occasionally he sees the footprint of an other writer - in the form of a review or something.

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.

I've been doing short-form writing for a decade, and six years ago I signed with an agent, and we've been working on figuring out what my book would be. I was always so embarrassed that it took me so long to figure it out, but I think, in retrospect, I just wasn't ready to write a book six years ago. I wasn't confident enough as a writer and I wasn't coherent enough in my worldview. It just took this long for me to be a mature enough writer and be ready to do it.

The whole thrust of theatre is different, just because the writing is so much more respected in a play. Whereas in movies - and having been the writer, I can say from experience - the writer is lower down on the food chain.

I had to decide if I wanted to be known as a writer or a reader. I chose writer.

I am a writer and always was; being a writer is an integral part of my identity. Being published, being well regarded, is a component of that identity.

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.

It seems to me that you are better off, as a writer and as an American, in a small town than you'd be in New York. I thoroughly detest New York, though I have to go there very often.... Have you ever noticed that no American writer of any consequence lives in Manhattan? Dreiser tried it (after many years in the Bronx), but finally moved to California.

An excess of development can undermine the most ephemeral but distinctive tool a writer possesses: authorial voice. A writer's voice is as individual and marked as a thumbprint, and is a playwright's truest imprimatur. It is as innate as breathing, and can be as unique as any genetic code. By its very singular nature, it is seldom born in the act of collaboration. True authorial voice always pre-dates the first rehearsal of a text. And it is - and will always be - an author's most distinguishing and valuable feature.

The very act of writing assumes, to begin with, that someone cares to hear what you have to say. It assumes that people share, that people can be reached, that people can be touched and even in some cases changed. So many of the things in our world lead us to despair. It seems to me that the final symptom of despair is silence, and that storytelling is one of the sustaining arts; it’s one of the affirming arts. A writer may have a certain pessimism in his outlook, but the very act of being a writer seems to me to be an optimistic act.

One of the things I learned from my father, and it did not serve me well at all, was that he was a successful writer, he earned a living. And it was a shock for me to find out that it was actually hard to make a living as a writer.

A writer, or a beginning writer, is faced by the huge walls of self-consciousness. Most people think, "What if I say the wrong thing? What if I don't sound erudite and sophisticated? I'll be considered a fool." In time, with a lot of practice, you realize that's your foolishness is your gift.

I like reading the world through a writer's eyes, rather than seeing a writer looking at him or herself as if at the center of gravity of the world around them.

I never thought about being a writer as I grew up. A writer wasn't something I wanted to be. An outfielder was something to be. Most of what I know about style I learned from Roberto Clemente.