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.

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.

To choose a writer for a friend is like palling around with your cardiologist, who might be musing as you talk to him that you are a sinking man. A writer's love for another writer is never quite free of malice. He may enjoy discussing your failures even more than you do. He probably sees you as tragic, like his characters - or unworthy of tragedy, which is worse.

Often, you have to fail as a writer before you write that bestselling novel or ground-breaking memoir. If you're failing as a writer - which it definitely feels like when you're struggling to write regularly or can't seem to earn a living as a freelance writer - maybe you need to take a long-term perspective.

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.

As soon as you become a writer, you lose contact with ordinary experience or tend to. ... the worst fate of a writer is to become a writer.

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.

The consciousness-expanding drugs - the hallucinogens, such as cannabis, mescaline, LSD, Psylocybin - I think are useful to a writer up to a certain point. That is, they open psychic areas that would not otherwise be available to the writer. But I feel that once these areas have been opened and the writer has reached them, he is able to get back there in the future without the drug.

Things have changed in Latin America now. We mostly have democratic governments in Latin America, so the position of the writer has changed. It is not as Neruda used to say, that a Latin American writer walks around with the body of his people on his back. Now, we have citizens, we have public means of expression, political parties, congress, unions. So, the writer's position has changed, we now consider ourselves to be citizens - not spokespeople for everybody - but citizens that participate in the political and social process of the country.

The writer in me can look as far as an African-American woman and stop. Often that writer looks through the African-American woman. Race is a layer of being, but not a culmination.

When one crosses over from an activity, or the verb, of writing or doing, and becomes a noun, like "a writer" I think that is an act of supreme self-consciousness that I've never, in effect, made. I write, but I don't like to think of myself as a writer. I think it's somewhat self-aggrandizing and pretentious. Now, I am a teacher.

She's a writer. The kind of writer who wouldn't be published outside. She believes that when one deals with words, one deals with the mind.

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.

A popular writer writes about what people think. A wise writer offers them something to think about.

Usually I'm trying to turn something around or turn it inside out and see what's underneath. I know that probably sounds incredibly vague but I never set out to be likeable or funny or anything like that. I'm just trying to tell the story in the best way that I can and serve the writer because it's really about the writer.

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.

It was only after two years' work that it occurred to me that I was a writer. I had no particular expectation that the novel would ever be published, because it was sort of a mess. It was only when I found myself writing things I didn't realise I knew that I said, 'I'm a writer now.' The novel had become an incentive to deeper thinking. That's really what writing is—an intense form of thought.

We need to give out portrayal of ourselves. Every non-Indian writer writes about 1860 to 1890 pretty much, and there is no non-Indian writer that can write movies about contemporary Indians. Only Indians can. Indians are usually romanticized. Non-Indians are totally irrepsonsible with the appropriation of Indians, because any time tou have an Indian in a movie, it's political. They're not used as people, they're used as points.

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.

One likes to think one grows as a writer as one ages, else all you get is an old young writer. Beyond that is the changing landscape of the universe and the stories I choose to tell.

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.

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.

When I was fifteen I wrote seven hundred pages of an incredibly bad novel - it's a very funny book I still like a lot. Then, when I was nineteen I wrote a couple hundred pages of another novel, which wasn't very good either. I was still determined to be a writer. And since I was a writer, and here I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, I thought I would try writing a play, which seems to have worked out a little better.

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.

Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.

I'm simply interested in what is going to happen next. I don't think I can control my life or my writing. Every other writer I know feels he is steering himself, and I don't have that feeling. I don't have that sort of control. I'm simply becoming. I'm startled that I became a writer.

For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.

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

I worked at the original Coyote Ugly bar when I was a young, unpublished writer. Then later when I became a writer, I wrote an article about it for GQ. Disney read this article about this filthy, disgusting pit in the East Village [of New York City], where we used to set the bar on fire to get customers away from us, and said, "That's a great movie for kids!" They made the fantastic Coyote Ugly movie, now legendary.

The writer's only responsibility is to his art...If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies.

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.

George Orwell is half journalist, half fiction writer. I'm 100 percent fiction writer... I don't want to write messages. I want to write good stories. I think of myself as a political person, but I don't state my political messages to anybody.

I don't really consider myself a writer, but I am writing so I guess I'm a writer.

I'm a writer-director-actor, which I've always kind of enjoyed. I compared it to the Olympic biathlon. "Not only can he cross-country ski, but he's a terrific marksman as well." I want people to say, "You mean that writer performed a tracheotomy?" That's right, I do everything.

I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself if it is all right as a story. I mean, once you go saying to yourself, 'This is a pretty weak plot as it stands, but I'm such a hell of a writer that my magic touch will make it okay,' you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.

The first thing you have to understand is that I was not desperate to be a writer. I was never a closet writer filing away notes in a cupboard.

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.

I've learned a lot about language from reading slush. You can immediately tell if a writer is in control of the narrative. This writer will avoid using too many words like "possibly," "probably," "maybe," "perhaps," etc. He/she will avoid using clichés, as well as a lot of metaphors, and won't take four sentences to say what they could in one (or write a great sentence and follow it up with a bunch of stuff that just weakens it).

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 longed to be a writer, always wanted to be a writer.

I wanted to be a writer for a while. I was an excellent child writer. I won multiple poetry contests. I was published at age three - I think that was more about novelty than my immense talent.

I wanted to be a writer from my early teenage years, but I never told anyone. Writers, in my opinion, were god-like creatures, and to say I was striving to be a writer would be incredibly arrogant.

A real writer [...] looks not in another writer but himself.

It is necessary a writing critic should understand how to write. And though every writer is not bound to show himself in the capacity of critic, every writing critic is bound to show himself capable of being a writer; for if he be apparently impotent in this latter kind, he is to be denied all title or character in the other.

The thing is - do we really need another writer who writes a book every eighteen months, whether the quality is wonderful or not? I mean, maybe. But I can name twenty off the top of my head who do it. Maybe what we need is a writer like me who goes very slow, as well.

Productivity is a relative matter. And it's really insignificant: What is ultimately important is a writer's strongest books. It may be the case that we all must write many books in order to achieve a few lasting ones - just as a young writer or poet might have to write hundreds of poems before writing his first significant one.

I realized the other day that about the only author I genuinely read for pure pleasure is one of the worst authors in the world, a guy called Harry Stephen Keeler, a long dead American mystery writer. He was probably the greatest bad writer America ever produced.