Quotes About Writers

I see so many talented writers of color struggling to get their work out to an audience. I know that's the case for all writers - everyone's struggling for attention - but I do think that for writers of color it's harder, and for women it's harder, and for regional writers it's harder, too.

Writing is not a great profession as a lot of writers proclaim. I write because this is something I can do. Another thing—very often I think a lot of writers write because they have failed to do other things. How many writers can’t drive? A lot. They’re not practical. They are not capable in everyday life.

Black writers, of whatever quality, who step outside the pale of what black writers are supposed to write about, or who black writers are supposed to be, are condemned to silences in black literary circles that are as total and as destructive as any imposed by racism.

Shakespearean words, foreign words, slang and dialect and made-up phrases from kids on the street corner: English has room for them all. And writers - not just literary writers, but popular writers as well - breathe air into English and keep it lively by making it their own, not by adhering to some style manual that gets handed out to college Freshmen in a composition class.

I'm one of the few Black writers, or African American writers, who managed to work my way through the system so that it has allowed me to speak in a kind of free way. But most African American writers don't have that. They don't have that opportunity, they don't have that.

I am always interested in why young people become writers, and from talking with many I have concluded that most do not want to be writers working eight and ten hours a day and accomplishing little; they want to have been writers, garnering the rewards of having completed a best-seller. They aspire to the rewards of writing but not to the travail.

You're...writing for other writers to an extent-the dead writers whose work you admire, as well as the living writers you like to read.

Ninety-five percent of all writers who write do not get published, but 100 percent of all writers write because they have a voice in their head. The vast majority of writers simply write because they have to.

I don't believe that fiction is dead. I know there are some people who believe that it's an outdated art form, and that to express truth today you need to work in different forms, to write books where it's perhaps not clear what's fiction and what's memoir. I have nothing against those books and love many of them very much. But we have enough space for everyone, traditional realists and hybrid writers, and experimental writers all.

A lot of attention has been paid in Latin America to the new generation of nonfiction writers, authors like Julio Villanueva Chang, Diego Osorno, Cristóbal Peña, Gabriela Wiener, Leila Guerriero, Cristian Alarcón, among others. These are writers doing important, groundbreaking work. So the talent is there, as is the habit of radio listenership, and what we propose to do is unite the two. We want to have these immensely gifted journalists - men and women who've already revitalized the long-form narrative - we want them to tell their stories in sound.

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

We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.

Writers are egotists. All artists are. They can’t be altruists and get their work done. And writers love to whine about the Solitude of the Author’s Life, and lock themselves into cork-lined rooms or droop around in bars in order to whine better. But although most writing is done in solitude, I believe that it is done, like all the arts, for an audience. That is to say, with an audience. All the arts are performance arts, only some of them are sneakier about it than others.

Great writers create; writers of smaller gifts copy

Genius gives birth, talent delivers. What Rembrandt or Van Gogh saw in the night can never be seen again. Born writers of the future are amazed already at what they're seeing now, what we'll all see in time for the first time, and then see imitated many times by made writers.

Writers who teach tend to prefer literary theory to literature and tenure to all else. Writers who do not teach prefer the contemplation of Careers to art of any kind.

The amount of work that TV writers and executives do is incredibly hard. I'm shocked that these people will hand in three outlines and two scripts, and everybody has to read them and give notes on all of them, even the writers.

I've always loved science fiction. I think the smartest writers are science fiction writers dealing with major things.

I think maybe writers come from different planets. I mean, not in any sense as extravagant as Baryshnikov. But there are some writers who understand each other this way and others who understand each other that way. Then there's this great herd, the "herd of independent minds."

The worst time in any writer's life is the two months before publication. ALL writers become mental and pathetic, even those of devout faith, who have some psychological healing to lean up against, and gorgeous lives. All writers think that this time, the jig is up, and they will be exposed as frauds.

Fortunately, we have writers who very much respect the classic characters and the integrity of the classic characters, that are also terrific comedy writers and are able to put these classic characters in new and interesting, and quite funny situations for today.

The unfortunate are not as miserable as the world imagines. That urchins, the handicapped, orphans, prisoners and others are much happier than people think. And that language is a trap, that a dark evolutionary force has created languages to limit human thought. That writers are overrated fools. That all religions come from ancient comic writers. And the ultimate goal of comics is same as the purpose of humanity – to break free from language.

Writers have always liked my stuff, pretty much. That's what I wanted - I think my goal wasn't to get rich and famous, necessarily, though I cared about that. I always thought, "Oh, this could be a hit," or "that will sell records." But the first thing I wanted was that people who knew a lot about music, or had taste-making qualities, they would like my stuff. Writers, people like that.

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.

The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.

It's difficult for writers in the theatre. It's difficult for writers in the theatre.

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.

I suppose most writers are following Twain's advice to tackle what they know, and my own readings habits drew me to writers who seemed to be writing honestly from their own experiences, whether they presented it in the guise of fiction or not.

For me writing is a long, hard, painful process, but it is addictive, a pleasure that I seek out actively. My advice to young writers is this: Read a lot. Read to find out what past writers have done. Then write about what you know. Write about your school, your class, about your teachers, your family. That's what I did. Each writer must find his or her own kind of voice. Finally, you have to keep on writing.

Writers are great lovers. They fall in love with other writers. That's how they learn to write. They take on a writer, read everything by him or her, read it over again until they understand how the writer moves, pauses, and sees. That's what being a lover is: stepping out of yourself, stepping into someone else's skin.

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.

Other people get into occupations by accident or design; but writers are born. I could work at selling motels, or slopping hogs, for fifty years, but if someone asked my occupation, I'd say writer, even if I'd never sold a word. Writers write. Other people talk.

We have seen many other not just writers and intellectuals, but including writers and intellectuals in the Muslim world being attacked and murdered by Islamic fanatics, accused of exactly the same things that I was, these medieval crimes of apostasy And heresy, but then broadening from that into a broader attack on all of us.

I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters

The majority of American writers today have chosen passive non-resistance to things as they are, producing sloughs of poetry about their personal angst and anomie, cascades of short stories and rivers of novels obsessed with the nuances of domestic relationships - suburban hanky-panky - chic boutique shopping mall literary soap opera. When they do speak out on matters of controversy they attack not the evils of our time but fellow writers who may insist on complaining.

Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.

Immortality. I notice that as soon as writers broach this question they begin to quote. I hate quotation. Tell me what you know.

Writers are entirely egocentric. To them, few things in their lives have meaning or importance unless they give promise of serving some creative purpose.

It's the writers' job to make it positive. It's my job to make it real.

Some writers enjoy writing, I am told. Not me. I enjoy having written.

Princess Rose should indeed be a TV movie, assuming something doesn't go wrong. I don't know how good a movie it will be, because the way movie folk think is different from the way writers think, and I distrust what isn't done my way. This is what I call a healthy paranoia.

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.

Some writers hate to go to trials, but I love trials.

If in the library of your house you do not have the works of the ancient Greek writers, then you live in a house with no light.

I love my sons and I love that they are writers - I also love my daughter, who's a minister and an orchard keeper! - but I wouldn't wish the burden of Mid-World and the Dark Tower on them. I enjoy working with them, though, because we fit together.

'Freeing' a literary work into the public domain is less a public benefit than a transfer of wealth from the families of American writers to the executives and stockholders of various businesses who will continue to profit from, for example, 'The Garden Party,' while the descendants of Katherine Mansfield will not.

The perfect integrity of The NewYork Times, and its writers, is not precisely 'just silly nonsense,'

Usually, when you're talking about work with other writers it's because something seriously bad is going on with your work and you've absolutely thrown out a lifeline and you're hoping that someone will help you with something. Either there's some bad feeling you have about the work, or sometimes it's not specific - just kind of solidarity.