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.

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.

I often wonder if all the writers who are alcoholics drink a lot because they aren't writing. It is not because they are writers that they are drinking, but because they are writers who are not writing.

We writers – and especially writers for children, but all writers – have an obligation to our readers: it's the obligation to write true things, especially important when we are creating tales of people who do not exist in places that never were – to understand that truth is not in what happens but what it tells us about who we are. Fiction is the lie that tells the truth, after all.

I have a total responsibility to the reader. The reader has to trust me and never feel betrayed. There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers. And it's appropriate, because the writer is getting paid and the reader isn't.

I read continually and don't understand writers who say they don't read while working on a book. For a start, a book takes me about two years to write, so there's no way I am depriving myself of reading during that time. Another thing is that reading other writers is continually inspiring - reading great writers reminds you how hard you have to work.

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.

You know, it's a funny thing about writers. Most people don't stop to think of books being written by people much like themselves. They think that writers are all dead long ago--they don't expect to meet them in the street or out shopping. They know their stories but not their names, and certainly not their faces. And most writers like it that way.

I think there is a huge difference between writers who have very big sales, and writers who have small sales. Even writers with very high reputations, even Nobel prize winners, often sell in very low figures.

Mediocre writers borrow; great writers steal.

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.

That's one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.

It's misleading to think of writers as special creatures, word sorcerers who possess some sort of magical knowledge hidden from everyone else. Writers are ordinary people who like to write. They feel the urge to write, and they scratch that itch every chance they get.

The e-book revolution has made it very easy to pay writers a good deal less than what their work is worth. I do strongly believe that we writers ought to hold out for much better royalties.

I value my correspondence with writers...I was in New York and had lunch with Oliver Sachs and compared notes with him - he is someone I really like. I love staying in written correspondence with some writers. That's enough for me.

Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.

Young writers find their first audience in little magazines, and experimental writers find their only audience there.

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.

Bad writers have influences. Good writers steal.

I was joking earlier when I said that all writers are manic depressives, but it's a joke with a lot of truth behind it. For fiction writers and poets, too, there's something wrong with you and you do this art as a way of correcting it or addressing it in some way.

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.

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

Movies have influenced all writers, not just thriller writers.

I love to read. And right now I'm on my last hundred pages of 'The Corrections' by Jonathan Franzen, and I really enjoyed it. His writing is just - he's one of those writers where you just go, 'There are people just meant to be novel writers.'

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 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."

I would say the next imminent hot writers are often the writers from the decade before you were born.

Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone.

I think all writers of my age who are brought up on films probably by the age of 16 have seen many more films than they have read classics of literature. We can't help but be influenced by film. Film has got some great tricks that it's taught writers.

Reviewing books is all about coziness. It is all of it a kind of caucus race. Women review women, Jewish writers review and praise Jewish writers, blacks review blacks, etc.

I think that very often younger writers don't appreciate how much hard work is involved in writing. The part of writing that's magic is the thinnest rind on the world of creation. Most of a writer's life is just work. It happens to be a kind of work that the writer finds fulfilling in the same way that a watchmaker can happily spend countless hours fiddling over the tiny cogs and bits of wire. ... I think the people who end up being writers are people who don't get bored doing that kind of tight focus in small areas.

Real writers - serious writers with serious subjects, who earn their living at it - all seem to write in small rooms with that knotty-pine 1974 look on the top-floor rear of their houses. Rooms with views.

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.

Humor is really important to me. All my favorite writers are writers I consider to be funny, including Tolstoy and Dostoevsky, even though that's not necessarily their rap.

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

It's becoming clearer and clearer to me that the world is there to be celebrated by writers, and in fact this is what all the good ones do, and that the great fashion for gloom and grimness was in fact a false path that certain writers took, I think in response to the horrors of the first half of the twentieth century.

The Web is cool, but the library is magic. Where else can the spirit of generations of writers stir your soul? So many writers talk about libraries setting them on their magical paths, it's almost a groaner. But we know it's true. Wander through the stacks and you can feel the dreams, the unique worlds bubbling within each volume. The magic enters you as if by osmosis. On the Web, you may feel clever, lucky and driven to download--but rarely inspired to dream and to write.

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.

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.

Most writers are secretly worried that they're not really writers. That it's all been happenstance, something came together randomly, the letters came together, and they won't coalesce ever again.

Throughout much of history, women writers have capitulated to male standards, and have paid too much heed to what Virginia Woolf calls "the angel in the house." She is that little ghost who sits on one's shoulder while one writes and whispers, "Be nice, don't say anything that will embarrass the family, don't say anything your man will disapprove of ..." [ellipsis in original] The "angel in the house" castrates one's creativity because it deprives one of essential honesty, and many women writers have yet to win the freedom to be honest with themselves.

The wonderful thing about books is you never run out of them, you can just keep going. So I'm always finding new writers, or old writers that I just happen not to have read.

I don't know why people would want to have lunch with writers. I've eaten with writers. We have appalling table manners, and rarely say anything other than 'Pass the salt' or 'If you're not going to eat that, can I have it?'

There's never been a great fight without the writers taking on and finding an identity for it. That's probably what has happened boxing. Writers are not writing about us big boys anymore and I tell you right, however you feel, take something, find it, and use it because American needs something to read about.

The O. Henry has become lingua franca among writers for saying, 'That guy can write a story.' It's prestigious, respected, coveted, dreamed about. It's very satisfying to be included in this group of writers. Here's a koan: Could O. Henry win an O. Henry?

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.

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.

Fiction writers are strange beasts. They are, like all writers, observers first and foremost. Everything that happens to and around them is potential material for a story, and they look at it that way.