Quotes About Writer

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.

A serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

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

A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.

Becoming a writer can kind of spoil your reading because you kind of read on tracks. You're reading as someone who wants to enjoy the book but also, as a writer, noticing the techniques that the writer uses and especially the ones that make you want to turn the page to see what happened.

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 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.

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.

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.

It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.

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.

I think my family's watched me over the years in my career, in my pursuit of my career, and they've seen the challenges and the struggles that come with being an actor, with being a writer and a director, and the challenges of morphing my career in from just being an actor into a writer/director.

I'm not an autobiographical writer, but I am a writer who deals with human emotion on all levels.

I am of course confident that I will fulfill my tasks as a writer in all circumstances - from my grave even more successfully and more irrefutably than in my lifetime. No one can bar the road to truth, and to advance its cause I am prepared to accept even death. But may it be that repeated lessons will finally teach us not to stop the writer's pen during his lifetime? At no time has this ennobled our history.

Nothing can injure a man's writing if he's a first-rate writer. If a man is not a first-rate writer, there's not anything can help it much. The problem does not apply if he is not first rate because he has already sold his soul for a swimming pool.

The final lesson a writer learns is that everything can nourish the writer. The dictionary, a new word, a voyage, an encounter, a talk on the street, a book, a phrase learned.

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.

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

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.

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.

I have never pretended to be a great writer. I am totally immodest about being a great reporter and a good news writer. I write fast and I write accurately, nearly as accurately as anybody can be, and that's my skill.

Carl Reiner particularly as a writer, a terrific writer. He's just turning out things.

I wanted to be a writer first, and I struck out in the world to be a writer first, and then found stand-up as a more creative outlet, as a 3D way to be creative.

Many people ask why a writer commits suicide. But I think that people who ask don't know the vanity and the nothingness of writing. I think it is very usual and natural for a writer to commit suicide, because in order to keep on writing he must be a very strong person.

No male writer is likely to be asked to sit on a panel addressing itself to the special problems of a male writer.

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 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 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.

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.

I think my role is as a writer, especially, and then also as a speaker, an organizer, and an entre- preneur of social change. My role isn't to make choices for people-each individual or group needs to do that on their own. But as a writer and a speaker, you can describe possibilities that perhaps haven't been visible before, and aren't in other public dialogues or in the rest of the media. So I suppose I think of myself mainly as an organizer and as someone who describes possibilities.

The best writing is not about the writer, the best writing is absolutely not about the writer, it's about us, it's about the reader.

In my view, a writer is a writer because even when there is no hope, even when nothing you do shows any sign of promise, you keep writing anyway.

Writers like Twain, Whitman, Dickinson, Melville, Louise Erdrich, Toni Morrison, Russell Banks, Carolyn Chute, Alice Walker, so many others that I read coming up as a writer, that helped form my ideas of what it means to be American - and an American writer. I'm always in conversation with them.

Every writer has to make an emotional journey from artist sitting in attic to being part of a business. The writer of a film is like Tinkerbell. You are only there because people believe in you. The moment they dont, because youre a pain the arse, youve lost.

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.

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."

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.

The war between the artist and writer and government or orthodoxy is one of the tragedies of humankind. One chief enemy is stupidity and failure to understand anything about the creative mind. For a bureaucratic politician to presume to tell any artist or writer how to get his mind functioning is the ultimate in asininity.

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.

The people who review my books, generally, are kind of youngish culture writers who aspire to write books. When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.

To write that essential book, a great writer does not need to invent it but merely to translate it, since it already exists in each one of us. The duty and task of a writer are those of translator.

The strange, wonderful stories of Doctor Olaf van Schuler's Brain introduce us to the tremendously gifted Kirsten Menger-Anderson, a writer whose subject is nothing less than the diagnosis and cure of the human malady. We follow twelve generations of New York City's Steenwycks family through their forays into phrenology, mesmerism, radium therapy and similar misadventures, a historically rich narrative that Menger-Anderson delivers in striking, elegant prose and with a sure eye for detail. This is a remarkable debut by a writer to watch.

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.

There is Harlan Ellison the human being, who takes a crap a couple of times a day, and who farts, and who eats chicken croquettes, if I can find them. And then there is the writer, this writer-person, who is a much finer person than I. Much more orderly, much more meaningful. Worthier, than I [am].

A great lathe operator commands several times the wage of an average lathe operator, but a great writer of software code is worth 10,000 times the price of an average software writer.

As a writer, I have to admit, there is something darkly compelling about Alzheimer's because it attacks the two things most central to a writer's craft - language and memory, which together make up an individual's identity. Alzheimer's makes a new character out of a familiar person.