Quotes About Writers

You were born with the seeds of your talent, the ability to observe the world around you and weave piece of it into a story. I believe that most -- if not all -- people are born with these seeds. What separates the writers from the non-writers is that the writers actually sit down and, you know... write.

Many people who want to be writers don't really want to be writers. They want to have been writers. They wish they had a book in print.

Good writers borrow from other writers. Great writers steal from them outright.

With the Holocaust - I wonder if a lot of Jewish writers of my generation have felt this way - it feels really intimidating to approach it. I feel like so many writers who have either lived through it firsthand or were part of that generation where they were closer to the people who were in it have written so beautifully about it, so there's no lack of great books about it

It is a mass language only in the same sense that its baseball slang is born of baseball players. That is, it is a language which is being molded by writers to do delicate things and yet be within the grasp of superficially educated people. It is not a natural growth, much as its proletarian writers would like to think so. But compared with it at its best, English has reached the Alexandrian stage of formalism and decay.

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.

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

It is certain, indeed, that the sacred writers were apt to make great allowances for people with empty stomachs, and though I am well aware that the present profane ones think this very reprehensible, I venture to agree with the sacred writers.

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.

We need a more complex understanding of writers working under authoritarian or repressive regimes. Something to replace this simpleminded, Cold War-ish equation in which the dissident in exile is seen as a bold figure, and those who choose to work with restrictions on their freedom are considered patsies for repressive governments. Let's not forget that most writers in history have lived under nondemocratic regimes: Shakespeare, Tolstoy, and Goethe didn't actually enjoy constitutionally guaranteed rights to freedom of speech.

Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution.

Some Native American writers enjoy being called Native American writers.

I think writing is a process that starts long before the writers are actually writers and probably goes on long afterward. It's rather like the way the Arabs weave rugs. They don't stop. They just cut them off at a certain spot on the loom. There is no particular beginning or end.

A lot of writers, especially crime writers, have an image that we think we're trying to keep up with. You've got to be seen as dark and slightly dangerous. But I'm not like that and I've realised that I don't need to put that on. People will buy the books whether they see a photo of you dressed in black or not.

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 must apologise because I know all writers have memories of being on the outer because it's the children on the side of the playground who become the dangerous writers.

Politics becomes a part of a writer's working life. The writer's protagonists are born in the context of the feelings that this atmosphere evokes. How can writers separate themselves from these feelings and create protagonists that come from Mars? Even writers who only write about psychological or internal issues or about love are writing under their prevailing atmosphere, and their writings will take on the hue of the time, place, and mood of their environment.

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.

Writers are such phonies: they sometimes have wise insights but they don't live by them at all. That's what writers are like...you think they know something, but usually they are just messes.

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'm not interested in writers who are overcome with certainty, with single-mindedness, or with a sense of how consistent and morally upstanding they are. My writers are in the thick of it and they seek the truth, rather than embody it, and sometimes they find truths that don't sit palatably or easily together. That's life. That's personality. And that's writing.

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.

If I had to give young writers advice, I would say don't listen to writers talking about writing or themselves.

while there are 'women writers' there are not, and have never been, 'men writers.' This is an empty category, a class without specimens; for the noun 'writer' - the very verb 'writing' - always implies masculinity.

I've always loved short stories. Even before I was a writer I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me. Alice Munro, I felt that way about from an early time. Grace Paley.

We're trying to make something that lasts in language and there's no question that many fiction writers began as poets and it's hard for me to think of any good fiction writers who don't also read poetry.

I was encouraged, though, because I saw feminist writers - male and female - calling out the bias. I feel like more and more writers are cognizant of the problems and are willing to try to challenge them.

Today, writers want to impress other writers.

Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.

At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.

If you want to know why all writers are a little crazy read 'The Midnight Disease' by Alice W. Flaherty. She talks about the drive to write, writer's block, and the creative brain. I know what's wrong with me!

I love to publish new writers, and we do so consistently. But a lot of contemporary American poets sound alike to me. They want to bring spoken, prosy language into poetry and I understand that desire. But they don't edit. It's not very curated work. It seems very lackluster, very uncareful. It may be the un-carefulness is also something they intend but there's a kind of "So what?" quality to a lot of it.

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

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.

writers of novels are so busy being solitary that they haven't time to meet one another. But then, a writer learns nothing from a writer, conversationally. If a writer has anything witty, profound or quotable to say he doesn't say it. He's no fool. He writes it.

Whenever I'm asked what advice I have for young writers, I always say that the first thing is to read, and to read a lot. The second thing is to write. And the third thing, which I think is absolutely vital, is to tell stories and listen closely to the stories you're being told.

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.

Writers seldom choose as friends those self-contained characters who are never in trouble, never unhappy or ill, never make mistakes, and always count their change when it is handed to them.

As a past president of the Writers Guild, I think women shouldn't write for free. Maybe you have to do it for a time, to make a reputation, but I think the idea of giving your work away is the beginning of authors not being able to make a living.

One of the disadvantages of almost universal education was the fact that all kinds of persons acquired a familiarity with one's favorite writers. It gave one a curious feeling; it was like seeing a drunken stranger wrapped in one's dressing gown.

As writers become more numerous, it is natural for readers to become more indolent; whence must necessarily arise a desire of attaining knowledge with the greatest possible ease.

I do not think writers or anybody would sit down and think they must write about some cause, or theme, or something. If they write about their own experiences, something true is going to emerge.

Of necessity, we made the discovery that it is easier to turn poets into business journalists than to turn bookkeepers into writers.

Let's face it, the great comedians now that are handicapped in the looks department are tremendous writers.

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.

Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.

Writers know that sometimes things are there in the drawer for decades before they finally come out and you are capable of writing about them.

Writers and filmakers, that is, people who describe the world, suffer from an occupational disease. They never experience moments in life quite spontaneously. You always look at yourself from the outside. Even as a child I always observed myself and the world. I believe that everyone who chooses this path in any way, who chooses to be a describer of life, suffers from this condition. It's like a mental obsession. It can be a great pity too. It robs you of a certain joy in spontaneity.