Quotes About Writers

Non-Indian writers usually say "Great Spirit," "Mother Earth," "Two-Legged, Four-Legged, and Winged." Mixed-blood writers usually say "Creator, "Mother Earth," "Two-Legged, Four- Legged, and Winged." Indian writers usually say "God," "Mother Earth," "Human Being, Dog, and Bird."

I always read the Latin American writers. I love so many of them: Gabriel García Márquez, José Donoso, Alejo Carpentier, Jorge Luis Borges, Clarice Lispector. I also love a lot of American experimental writers and surrealist European writers. But perhaps The Persian Book of Kings was the greatest influence - I encourage people to look at it. There is such a wealth of incredible stories.

Being goal-oriented instead of self-oriented is crucial. I know so many people who want to be writers. But let me tell you, they really don't want to be writers. They want to have been writers. They wish they had a book in print. They don't want to go through the work of getting the damn book out. There is a huge difference.

I try really hard to ask people to take a look at their bookshelves. Are there female writers on it? Gay writers? Writers of color? There should be.

Book critics certainly are judges who wield a tremendous amount of power in terms of whether or not a book will reach a wider audience. That's one of the reasons why I try to give coverage to books written by Latinx writers; too many worthwhile works of literature do not get the kind of coverage they deserve, and I've certainly seen that with respect to books written by writers of color. But there are some wonderful, diverse writers out there who mentor and otherwise support those voices that often have been ignored by much of the mainstream press.

Joss Whedon writes beautiful drama. His sensitivity and his sense of drama and scenes are pretty exceptional. There's no one else writing like him, really, in sci-fi and TV. That's not to say there are no astonishing writers on TV. I was nervous about coming to America and playing an English person who speaks very English when all the writers are American, because it's a very particular thing to imitate, and if it's badly imitated, it sounds painfully contorted and silly. And he writes very well for English people. It was Joss Whedon who persuaded me.

I would say that Edgar Allan Poe, [Georges] Perec, Thomas Pynchon, and [Jorge Luis] Borges are all boy-writers. These are writers who take... a kind of demonic joy in writing.

Anyone who wants to be a writer should, if given the opportunity, hang out with "real writers," that is, poets or writers who are lions in literature, semi-lions, or published authors.

There are still many writers out in the Bay, extraordinary writers like Gina Valdez, a poet who I just saw in Portland. We have young people like Eduardo Corral, who won the Yale Younger Poets Award. José Antonio Rodriguez, published by Luis Rodriguez. But there are only a few of us who are paid attention to in New York. There are legions behind us who are not.

I don't find any real rivalries with crime and thriller writers anyway. That might sound a little Pollyanna, but for the most part the writers I compete with, if you want to use that word, it's a pretty friendly rivalry. I think we all realise that the boat rises and sinks together.

There are many people who say, I write for myself. I think that if you write and publish, then you write for your readers, not just for yourself. Many writers say that they write to be loved. I place myself among those writers.

Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.

So I have no grounds to complain; on the contrary, writers should consider the condition of permanent controversiality to be invigorating, part of the risk envolved in choosing the profesión. It is a fact of life that writers have always and with due consideration and great pleasure spit in the soup of the high and mighty. That is what makes the history of literature analogous to the development and refinement of censorship.

I just can't say enough about the actors having faith and trust in the writers and the writers having faith and trust in the actors.

Translated literature can be fascinating. There's something so intriguing about reading the text second hand - a piece of prose that has already been through an extra filter, another consciousness, in the guise of the translator. Some of my favorite writers who have written in English were doing so without English being their first language, so there's a sense of distance or of distortion there, too. Conrad. Nabokov. These writers were employing English in interesting ways.

Narco fiction novels have a reputation, at least here in Mexico among some of the writers I know, of being somewhat rushed productions, usually written in one way or another like crime thrillers, with something cheesily exploitative about them. It feels exploitive - taking this horrible and ongoing tragedy and trying to turn it into something entertaining. Or trying to turn it into something that might earn the writer a reputation of the sort that many writers believe they aspire to. Or earn them money.

It's not a matter of whether the reviews of your books are good or bad, it's about being taken seriously, both as a woman writer and as a writer of color. Also, it worries me when people point to a couple of women writers or writers of color who get some attention - and I am sometimes pulled into that category - to prove that others are getting a fair shot. It's like those people who keep saying that racism no longer exists in this country because Barack Obama was a President of the United States.

The time has come for writers to become inaccessible again. The reason is not some kind of 'mystique' that makes people curious (though it helps), but the fact that no real writers ever lay down anything real in public-they work in solitude, they think hard, and their thoughts are rarely nice or 'friendly.'

I have come to understand and appreciate writers much more recently since I started working on a book last fall. Before that, I thought golf writers got up every morning, played a round of golf, had lunch, showed up for our last three holes and then went to dinner.

It's something that I know how to do because I taught for a very long time, so I can do it, and I feel a responsibility to do it - for instance, in this situation, where I'm touring specifically for this period of time. But most writers are not public people. There are a few writers out there who really enjoy it and are good at it, and can both work and do that at the same time, but I'm not one of those people.

What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.

I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.

The fact is, unlike a lot of writers, I credit the people who help me. A lot of writers out there have a ton of researchers and they don't get credited in the book.

I have a camp so I brought my writers, LaShawn Daniels and at the time, Anesha and Antea [Birchett], they were sisters, and this girl Delisha [Thomas] and Makeba [Riddick]. I brought basically five writers to work on different ideas. You either make the cut or you don't.

Like skateboarders, writers live by rejection; like writers, any skater worth his salt must have the single-minded tenacity of a wiener dog.

It's a critical fallacy of our times ... that a writer should 'grow,' 'change,' or 'develop.' This fallacy causes us to expect from children or radishes: 'grow,' or there's something wrong with you. But writers are not radishes. If you look at what most writers actually do, it resembles a theme with variations more than it does the popular notion of growth.

Miss Abigail, I want to be an author because writers know when a person is lonely. I mean, when Molly read me some books, those writers reached out and said, Look Gideon, we know about your loneliness and we know you're feeling downtrodden. And they said...I'll stand up for you. You're not lone anymore.

To observe the world carefully, to write a lot and often, on a schedule if necessary, to use the dictionary a lot, to look up word origins, to analyze closely the work of writers you admire, to read not only contemporaries but writers of the past, to learn at least one foreign language, to live an interesting life outside of writing.

And when you get an eminent journal like Time magazine complaining, as it often has, that to the young writers of today life seems short on rewards and that what they write is a product of their own neuroses, in its silly way the magazine is merely stating the status quo and obvious truth. The good writing of any age has always been the product of someone's neurosis, and we'd have a mighty dull literature if all the writers that came along were a bunch of happy chuckleheads.

But writers experience the world and themselves in a unique way. We look for meaning. We see it even when we are not paying attention, which is seldom because, as writers, paying attention is what we do. We are scribes to the ticking of the days, and we have a job to do. We are not at peace unless we are doing it.

I think the deepest thing is that many fiction writers tell stories but are not elegant writers. But, we're not writing journalism when we're making literature.

A more appropriate expansion is the statement "it is the responsibility of intellectuals to speak the truth and expose lies" a transcript of a talk to a writers conference in Australia in 1996, where I had been asked to talk on "writers and intellectual responsibility" - a question that I said I found "puzzling," because I knew of nothing to say about it beyond truisms, though these were perhaps worth affirming because they are "so commonly denied, if not in words, then in consistent practice."

I love science fiction. I always have, ever since I was a kid. I love a lot of science fiction writers. William Gibson is one of my favorite writers.

I want to see the writers strike because the writers, god bless them, are the only true commies we have in Hollywood.

Other people, some other writers, will win certain accolades or sell in far greater numbers than me - and I'm a legitimate best-selling author - but I live and die for the work. That's thrilling to me. It's thrilling that I do for others what certain writers did for me when I was a kid.

It was always about the future of writers, and about the way writers are treated in the future, and I think that was really hurtful to a lot of people in my position who had 160 people who depended on them to get this over with. So there was a lot of pain in it, and in that sense it will never be worth it, but I do think it was important.

The rules of grammar exist in large part to permit readers and writers to operate from a shared set of expectations.

We're writers. What do we do? We tell stories. We make up stories. We create art.

I, indeed, following the true law of history, have never set down any fact that I have not learned from trustworthy speakers or writers.

How some of the writers I come across get through their books without dying of boredom is beyond me.

I think there are a lot more writers who are actors than you know; they just don't have roles on famous TV shows that you recognize.

Solitary and farouche people don't have relationships; they are quite unrelatable. If you and I were capable of being altogether house-trained and made jolly, we should be nicer people, but not writers.

Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.

There are few writers who, if they publish anything, I am going to buy it: Ian McEwan, Scott Turow, Pat Conroy - he was a buddy of mine and I always read his stuff. Also: Harlan Coben, Elmore Leonard, John Le Carre, but he's pushing ninety.

I've always felt that no one understands why some books of non-fiction endure and some don't, because there's not much understanding among many non-fiction writers that the narrative is terribly important.

For a country to have a great writer is like having a second government. That is why no regime has ever loved great writers, only minor ones.

If you look at the best-seller list, it is mostly thrillers. Very few books attempt to create an image of the life we live. I knew there were writers who wore tweed coats and lived in Connecticut and somehow made a living, and that's what I aimed to do. I've tried to write as well as I can with books that say something to any reader.

Pretty much all comic-book people, like all Hollywood people, for the most part, are pretty liberal. I think especially UK writers. Alan Moore is probably the most radical guy you'll ever meet. I grew up loving those guys, so my heroes, as a kid, were radical cartoonists, essentially. I couldn't help but - I grew up in a left-wing household. But I do think it's fun, writing right-wing characters. I've found it interesting, just as a writer, to get inside their heads and make them likeable.