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.

The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one

But the writer who endures and keeps working will finally know that writing the book was something hard and glorious, for at the desk a writer must try to be free of prejudice, meanness of spirit, pettiness, and hatred; strive to be a better human being than the writer normally is, and to do this through concentration on a single word, and then another, and another. This is splendid work, as worthy and demanding as any, and the will and resilience to do it are good for the writer's soul.

It's not possible to advise a young writer because every young writer is so different. You might say, "Read," but a writer can read too much and be paralyzed. Or, "Don't read, don't think, just write," and the result could be a mountain of drivel. If you're going to be a writer you'll probably take a lot of wrong turns and then one day just end up writing something you have to write, then getting it better and better just because you want it to be better, and even when you get old and think, "There must be something else people do," you won't be able to quit.

I am more of a suspense writer. A mystery writer solves mysteries. I am a high suspense writer.

Canadians are fond of darker stories, serious stories, so if you're a Mystery writer or a Romance writer or Fantasy Writer, you will most likely have an American publisher and agent.

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.

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?

Don't put down too many roots in terms of a domicile. I have lived in four countries and I think my life as a writer and our family's life have been enriched by this. I think a writer has to experience new environments. There is that adage: No man can really succeed if he doesn't move away from where he was born. I believe it is particularly true for the writer.

It's great to win a few prizes early on. It helps a writer to get noticed and to get some sales. It can also be a pain in the arse because it gets in the way of the quiet, contemplative time every writer needs, but which is particularly important when you are a new writer finding your own voice, and pursuing the things that interest you.

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.

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.

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.

Negro writers, just by being black, have been on the blacklist all our lives. Do you know that there are libraries in our country that will not stock a book by a Negro writer, not even as a gift? There are towns where Negro newspapers and magazines cannot be sold except surreptitiously. There are American magazines that have never published anything by Negroes. There are film studios that have never hired a Negro writer. Censorship for us begins at the color line.

Detach the writer from the milieu where he has experienced his greatest sense of belonging, and you have created a discontinuity within his personality, a short circuit in his identity. The result is his originality, his creativity comes to an end. He becomes the one-book novelist or the one-trilogy writer.

If you are a writer, or want to be a writer, this is how you spend your days--listening, observing, storing things away, making your isolation pay off. You take home all you've taken in, all that you've overheard, and you turn it into gold. (Or at least you try.)

Everybody has to share something. This is one of the most important laws of the human condition, is the necessity to share. This is the task of the writer - but not only of a writer, of every human being - it is to share something that he or she has.

When one writer tries to silence another, he silences every writer-and in the end he also silences himself.

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.

The only valid reason to use clichés is in the speech of a character. Cliches are indications of sloppy writing. The writer does not respect the scene he is trying to dramatize enough to fashion it through precise prose and imaginative imagery. From the book Dare to be a Great Writer: 329 Keys to Powerful Fiction by

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.

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.

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.

If you are not a writer, you will not understand the difficulties of writing. If you are not a writer, you will not know the fears and hopes of the writers you teach.

As a writer, you have to be willing to kill your darlings, and I'm a writer first. As a director, I've got no problem cutting the scenes.

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.

When I began writing, the words that inspired me were these: A writer is someone who has written today. If you want to be a writer, whats stopping you?

If a writer is convinced that he is honest, then it is very difficult for him to be a bad writer.

The trick is not becoming a writer. The trick is staying a writer.

If technique is of no interest to a writer, I doubt that the writer is an artist.

When trying to seduce a woman, a writer says: 'I'm a writer', and scribbles a poem on a napkin. It always works.

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.

Writers don't often say anything that readers don't already know, unless its a news story. A writer's greatest pleasure is revealing to people things they knew but did not know they knew. Or did not realize everyone else knew, too. This produces a warm sense of fellow feeling and is the best a writer can do.

A writer should concern himself with whatever absorbs his fancy, stirs his heart, and unlimbers his typewriter. ... A writer has the duty to be good, not lousy: true, not false; lively, not dull; accurate, not full of error. He should tend to lift people up, not lower them down.

I have the exact opposite problem of every writer I've ever met: Every writer I've ever met writes things that are too long, and they have to edit them down.

In most cases a favorite writer is more with us in his book than he ever could have been in the flesh; since, being a writer, he is one who has studied and perfected this particular mode of personal incarnation, very likely to the detriment of any other. I should like as a matter of curiosity to see and hear for a moment the men whose works I admire; but I should hardly expect to find further intercourse particularly profitable.

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.

To finish is sadness to a writer — a little death. He puts the last word down and it is done. But it isn't really done. The story goes on and leaves the writer behind, for no story is ever done.

There is only one place to write and that is alone at a typewriter. The writer who has to go into the streets is a writer who does not know the streets. . . when you leave your typewriter you leave your machine gun and the rats come pouring through.

Writing is a lonely job. Even if a writer socializes regularly, when he gets down to the real business of his life, it is he and his type writer or word processor. No one else is or can be involved in the matter.

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 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.

There's a certain grain of stupidity that the writer of fiction can hardly do without, and this is the quality of having to stare, of not getting the point at once. The longer you look at one object, the more of the world you see in it; and it's well to remember that the serious fiction writer always writes about the whole world.

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.

Now, as a reader, you shouldn't feel the decisions the writer makes about this DNA, or it would be boring beyond belief. But, as a writer, you're struggling to make these decisions. What should the title be? What's the first line? The point of view? And the struggle with the decisions is because you're trying to figure out WHAT IS THE NOVEL, WHAT IS THE NOVEL?

Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.

Your only responsibility as a writer is to be true to the story that has chosen you as its writer.

We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.