Quotes About Writers

Real writers-that is, capital W Writers-rarely make much money. Their biggest reward is the occasional reader's response.... Commentators-in-print voicing big fat opinions-you might call us small w writers-get considerably more feedback than Writers. The letters I personally find most flattering are not the very rare ones that speak well of my editorials, but the occasional reader who wants to know who writes them. I always happily assume the letter-writers is implying that the editorials are so good that I couldn't have written them myself.

I've grown up on a diet of metaphors. If young writers would find those writers who can give them metaphors by the bushel and the peck, then they'll become better writers - to learn how to capsualize things and present them in metaphorical form.

Anything would be better in the US than what you have. As a government it's really very low quality, given the fact that this country produces eminent intellectuals, has great universities, and then the people who arrive in government are very mediocre. The Latin American situation has been very different in the first place, because writers have spoken for those who have no voice. The rate of illiteracy, poverty, joblessness in Latin America has been so great throughout our history that if the writers didn't speak out for the people, nobody would.

We, including many Christians, read the Bible through "eyes" conditioned by, and even accommodated to, modern Western culture plus the influences of messages and ideas from other cultures that are alien to the worldview of the biblical writers. Therefore, in order fully to understand the Bible and allow the Bible to absorb the world (rather than the world - culture - absorb the Bible) we must practice an "archaeology" of the biblical writers' implicit, assumed view of reality.

I think writers are not only writers, they are also citizens.

when it comes to their essential faculty as writers, all writers are androgynous beings.

The number one thing I am earnestly attracted to is intelligence. Writers are thus the pinnacle of intelligence. While actors are great and awesome, writers literally create new worlds from scratch. What is sexier than that? Personally, I don't know why every person out there isn't dating a writer.

Meeting writers is always so disappointing. I got over wanting to meet live writers quite a long time ago. There is this terrific book that has changed your life, and then you meet the author, and he has shifty eyes and funny shoes and he won't talk about anything except the injustice of the United States income tax structure toward people with fluctuating income, or how to breed Black Angus cows, or something.

Writers, because they write, are condemned never to be readers of their own stories...The memory of first putting a story into words will always prevent writers from reading their work as an ordinary reader would.

The writers who have the deepest influence on one are those one reads in ones more impressionable, early life, and often it is the more youthful works of those writers that leave the deepest imprint.

It is generally supposed that where there is no QUOTATION, there will be found most originality; and as people like to lay out their money according to their notions, our writers usually furnish their pages rapidly with the productions of their own soil: they run up a quickset hedge, or plant a poplar, and get trees and hedges of this fashion much faster than the former landlords procured their timber. The greater part of our writers, in consequence, have become so original, that no one cares to imitate them; and those who never quote, in return are never quoted!

It is deeply unfair to task writers of color with unique responsibilities that we don't assign to all writers.

Writers, at least writers of fiction, are always full of anxiety and worry.

Incidentally, I am intrigued by how many European and Latin American writers expressed their political views in the columns they routinely wrote or write in the popular press, like Saramago, Vargas Llosa, and Eco. This strikes me as one way of avoiding opinionated fiction, and allowing your imagination a broader latitude. Similarly, fiction writers from places like India and Pakistan are commonly expected to provide primers to their country's histories and present-day conflicts. But we haven't had that tradition in Anglo-America.

What is difficult is the promotion, balancing the public side of a writer's life with the writing. I think that's something a lot of writers are having to face. Writers have become much more public now.

I think writers always want to be taken seriously as writers, but it's not always possible. There's a difference between persistence and banging your head against the same wall a hundred times. Sometimes it's better to look away from the wall and see what else might be available that's easier.

I have a hard time writing. Most writers have a hard time writing. I have a harder time than most because I'm lazier than most. [...] The other problem I have is fear of writing. The act of writing puts you in confrontation with yourself, which is why I think writers assiduously avoid writing. [...] Not writing is more of a psychological problem than a writing problem. All the time I'm not writing I feel like a criminal. [...] It's horrible to feel felonious every second of the day. Especially when it goes on for years. It's much more relaxing actually to work.

The Huffington Post Investigative Fund's goal is to produce a broad range of investigative journalism created by both staff reporters and freelance writers, with a focus on working with the many experienced reporters and writers impacted by the economic contraction. The pieces will range from long-form investigations to short breaking news stories and will be presented in a variety of media - including text, audio, and video.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

On a court full of great writers, I shouldn't say full of - there have been some bad writers on the court over the years.

I don't think contemporary writers spend a lot of time reading each other. Particularly writers of the same nationality.

I think the best writers are voracious readers who pick up the cadences and the feel of narration through a number of different books. And you begin by maybe copying the style of writers that really knocked you out.

Of course, the way writers think about those things is almost certain to be affected by their own cultural background, and it would be hard to deny that, for whatever reasons, a lot of SF writers come from Anglo or European backgrounds.

In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.

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.

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.

I guess I am nostalgic for a time - the nineteenth century and early twentieth - when writers were, to use Stefan Collini's phrase, "public moralists" and politicians, plutocrats, bankers, arms dealers, and experts and technocrats were not solely defining the moral norms as well as the political lives of our societies. We do have some writers claiming to be public moralists, but, as I said, they have actually been more jingoistic than even the henchmen of Bush and Blair.

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.

This is for writers yet to be published who think the uphill climb will never end. Keep believing. This is also for published writers grown jaded by the process. Remember how lucky you are.

New York is great for writers insofar as you can pay someone to bring you food, to take your washing out and bring it back clean. It enables you. Writers always feel guilty when they're doing anything but writing, and New York allows you to really write all the time if you want to - though my kids put a limit on it.

My book sales make 'real writers' possible.

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

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.

Curiously, the United States is full of writers who have one big work in their life and that's all.

Successful writers learn at last what they should learn at first,--to be intelligently simple.

Coming from the world of comics, I was very surprised that writers and illustrators, for the most part, don't talk, and they don't collaborate.

Good writers are monotonous, like good composers. They keep trying to perfect the one problem they were born to understand.

Mystery writers' conventions are usually good, and this one has been excellent and extremely well prepared and thought out in advance. A lot of people have given their time and their skill, and a good deal of wit, and Anchorage has made us extraordinarily welcome.

Used to be in the old days, only the pulp writers wrote like machines. Now everybody is expected to be literary John Henrys. So in that context someone like me is an anomaly.

I'm gregarious with writers and never with manuscripts . . . I [like to] create the illusion of seamless perfection, so I alone know the flawed homely process along the way.

I think that most of us [writers] would rather have an audience than countless riches. If we wanted to be rich, we'd be doing smething else.

Being part of a community of writers is huge. I really think that's why people go to MFA programs.

The choosing among words is made by every user of the language, and not exclusively by professional speakers and writers.

We live in a world that's very fast, where we get bombarded with huge amounts of information very quickly, and I have tried to tailor my voice to the times, which I think, writers, over the course of history - many have always done.

The writers are very good about misdirection and changeups, and that's what's great about it. We always think we know what's going to happen and then they throw a curveball that you don't see coming.

Some writers are only born to help another writer write one sentence.

The making of miracles to edification was as ardently admired by pious Victorians as it was sternly discouraged by Jesus of Nazareth. Not that the Victorians were unique in this respect. Modern writers also indulge in edifying miracles though they generally prefer to use them to procure unhappy endings, by which piece of thaumaturgy they win the title of realists.

The greatest writers of this age... are aware of the mystery of our existence.