Quotes About Writer

As every writer knows... there is something mysterious about the writer's ability, on any given day, to write. When the juices are flowing, or the writer is 'hot', an invisible wall seems to fall away, and the writer moves easily and surely from one kind of reality to another... Every writer has experienced at least moments of this strange, magical state. Reading student fiction one can spot at once where the power turns on and where it turns off, where the writer writes from 'inspiration' or deep, flowing vision, and where he had to struggle along on mere intellect.

No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, dont confine yourself to reading fiction. Every writer is first a wide reader.

I don't think of myself as a metafictional writer at all. I think of myself as a classic writer, a realist writer, who tends to have flights of fancy at times, but nevertheless, my feet are mostly on the ground.

I think the first thing - if you want to be a writer - the first thing you need to do is write. Which sounds like an obvious piece of advice. But so many people have this feeling they want to be a writer and they love to read but they don't actually write very much. The main part of being a writer, though, is being profoundly alone for hours on end, uninterrupted by email or friends or children or romantic partners and really sinking into the work and writing. That's how I write. That's how writing gets done.

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 don't want to be a writer so I can write about my life. I want to be a writer to escape from it. + Then you shouldn't be a writer.

If you want to be a fiction writer, you need to start reading like a fiction writer. To do so, you need to learn about craft so that the next time you pick up a contemporary short story, you're reading it not as an abstraction floating in formaldehyde, existing simply for the theorist's dull scalpel to saw on, but as a concrete thing constructed out of words and shaped by syntax, brought to life by a writer who made several thousand choices, some large, some small, before letting that imperfect beauty, the story, walk on its own two feet.

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 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.

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.

No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.

I think writer's block is simply the dread that you are going to write something horrible. But as a writer, I believe that if you sit down at the keys long enough, sooner or later something will come out.

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

I think the primary gift of the animal is offered to writer and non-writer alike; they teach us about love, or attunement, which is love in action. A lot of people have closer relationships with animals than they do with other humans, because real intimacy requires both parties to consistently lean in, and animals are so good at this. They remain consistently, amazingly attuned to us, even when we fail them, and so we stay present, because we sense we're safe.

In accordance with the terms of the Clarke-Asimov treaty, the second-best science writer dedicates this book to the second-best science-fiction writer. [dedication to Isaac Asimov from Arthur C. Clarke in his book Report on Planet Three]

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.

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.

And then he says, "The writer must be true to truth." And that's a killer, because the only way you can describe a human being truly is by describing his imperfections. The perfect human being is uninteresting - the Buddha who leaves the world, you know. It is the imperfections of life that are lovable. And when the writer sends a dart of the true word, it hurts. But it goes with love. This is what Mann called "erotic irony," the love for that which you are killing with your cruel, analytical word.

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.

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.

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.

A writer's life is a highly vulnerable, almost naked activity. We don't have to weep about that. The writer makes his choice and is stuck with it. But it is true to say that you are open to all the winds, some of them icy indeed. You are out on your own, out on a limb. You find no shelter, no protection - unless you lie - in which case of course you have constructed your own protection and, it could be argued, become a politician.

The whole relationship between a writer's spiritual/emotional condition and the kind of wordstuff and form-making that's going on in his work is an interesting one. When I was an undergraduate, there was a glib notion around that there was no reason to suppose a bad man could be a good writer.

Being pregnant taught me how to be a better writer. It was a lesson in negative capability and surrendering to necessity. Suddenly, my body instinctually yielded to the needs of this growing being, and I had no choice but to embrace what was happening and all that lay ahead, even if I was afraid and uncertain. So, while being a parent has made writing more challenging, it has also made being a writer more certain. There's no room to procrastinate; there is to time for fear.

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.

Gene Wolfe is the greatest writer in the English language alive today. Let me repeat that: Gene Wolfe is the greatest writer in the English language alive today! I mean it. Shakespeare was a better stylist, Melville was more important to American letters, and Charles Dickens had a defter hand at creating characters. But among living writers, there is nobody who can even approach Gene Wolfe for brilliance of prose, clarity of thought, and depth in meaning

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.

I can't explain inspiration. A writer is either compelled to write or not. And if I waited for inspiration I wouldn't really be a writer.

The reality of a serious writer is a reality of many voices, some of them belonging to the writer, some of them belonging to the world of readers at large.

A writer never finds the time to write. A writer makes it. If you don't have the drive, the discipline, and the desire, then you can have all the talent in the world, and you aren't going to finish a book.

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.

When I first decided I wanted to be a writer, when I was 10, 11 years old, the books that I loved obviously and openly fit that description: They came with maps and glossaries and timelines - books like Lord Of The Rings, Dune, The Chronicles Of Narnia. I imagined that's what being a writer was: You invented a world, and you did it in a very detailed way, and you told stories that were set in that world.

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.

I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.

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.

Why does the writer write? The writer writes to serve--hopeless ly he writes in the hope that he might serve--not himself and not others, but that great cold elemental grace that knows us.

I sometimes feel I'm a sort of cult writer, rather than a mainstream writer, in that those who like my stuff like it a lot, but the appeal is not that broad.

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.

There's an old adage in writing: 'Don't tell, but show.' Writing is not psychology. We do not talk 'about' feelings. Instead the writer feels and through her words awakens those feelings in the reader. The writer takes the reader's hand and guides him through the valley of sorrow and joy without ever having to mention those words.

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.

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.

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.

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.

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.

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.

I think it's hard to make a living as a writer, but I think it's hard to work at McDonald's too.... I think the commitment is to get up everyday and say, "I'm a writer, therefore what I'm supposed to do today is write." And to do that, and to do that and to do that.

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.