Quotes About Writers

That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.

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.

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.

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.

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 think the special thing about Python is that it's a writers' commune. The writers are in charge. The writers decide what the material is.

The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.

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.

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

I don't think anybody can teach anybody anything. I think that you learn it, but the young writer that is as I say demon-driven and wants to learn and has got to write, he don't know why, he will learn from almost any source that he finds. He will learn from older people who are not writers, he will learn from writers, but he learns it -- you can't teach it.

I've never really felt that being part of a literary community is all that important. It can be extremely detrimental to a writer. It can damage successful writers by giving them an exalted sense of what they've done, and it can crush less successful writers by infecting them with envy and malice at an early stage in their careers.

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.

All of us, writers and non-writers alike, have incredible well-springs of personal experience and history. And we also have imagination - which I think is a kind of human miracle.

Can you imagine writers influencing things in America? Can you imagine a writer in England influencing? Absolutely not. And in France? It used to be, but no more - absolutely not. France used to, at least, have writers as diplomats, but not any more.

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.

And the truth is that if a writer is successful, you gain readers. It benefits all the writers. It's important for all the writers that as many of us as possible be successful.

Your characters get angry at you if you speak about them and stop you from giving birth to them on the page in revenge. Real writers sit down and write. Wannabe writers sit around and talk.

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.

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.

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 think writers are the most narcissistic people. Well, I musn't say this, I like many of them, a great many of my friends are writers.

The writer isn't made in a vacuum. Writers are witnesses. The reason we need writers is because we need witnesses to this terrifying century.

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.

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.

I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.

The work I'm doing on the screen differs from that of anyone else. My comedy is of a peculiar nature...no writers have been developed along the lines of my type of comedy and this is why I sometimes have differences with writers, supervisors and directors alike.

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.

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.

Eazy-E was not a rapper! He was a stone cold businessman. EAZY use to say that out of His own mouth. But one thing that he did have when it came to his artistry , is that voice. At least Eazy-E admitted he had ghost writers & people that wrote for him. Some of today's super star rappers will not admit they have ghost writers. Eazy-E always kept it 1000.

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.

There are fewer media writers in traditional settings. That is a beat that many legacy brands cannot afford. On the other hand technology writers are writing about media in ways they didn't before. As a consequence of the shift, there is less interest in many ways in the activities at some media. If you look at coverage of media as whole, the decision-making at the three broadcast networks and the cable channels, for instance, is much less of a focus than it once was. The guts of what goes on at Fox or CNN or MSNBC probably has less impact than it once did. It certainly gets less attention.

The best writers who have put pen to paper have often had a journalism background.

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

My advice for aspiring writers is go to New York. And if you can’t go to New York, go to the place that represents New York to you, where the standards for writing are high, there are other people who share your dreams, and where you can talk, talk, talk about your interests. Writing books begins in talking about it, like most human projects, and in being close to those who have already done what you propose to do.

You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do-and they don’t. They have prejudices.

The only good grades I ever got in school before I was kicked out were for creative writing. I thought that fiction might be in my future but then my career took a different path once the Beatles showed me what a blast being in a band could be. Writing my memoir Late, Late at Night reminded me how much I love the craft. So I decided to give fiction a shot again.Magnificent Vibration is the result. I’m still not quite sure where it came from, but once I got going, it practically wrote itself. I’ve heard writers I admire speak of that phenomenon, so maybe I’m on the right track.

Writers are not mere copyists of language; they are polishers, embellishers, perfecters. They spend hours getting the timing right so that what they write sounds completely unrehearsed.

The trouble with young writers is that they are all in their sixties.

Those of our writers who have possessed a vivid personal talent have been paralyzed by a want of social background.

God uses millions of no-name influencers every day in the simplest selfless acts of service. They are the teachers whose names will never be in the newspaper, pastors who will never author a book, managers who will never be profiled in a magazine, artists whose work is buried in layers of collaboration, writers whose sphere of influence is a few dozen people who read their blogs. But they are the army that makes things happen. To them devotion is its own reward. For them influence is a continual act of giving, nothing more complicated than that.

As I've picked up more responsibilities in life, I've found nearly every one of those extra burdens drains me in a way that makes writing more difficult. That may not be the case for everyone - I know plenty of writers and artists who seem to have energy in abundance for all the facets of life; but are they producing anything worthwhile?

I have no problem with religion, and I grew up with a strong curiosity about spiritual matters, but my searching took me away from church and community worship to the internal journey. Before my recovery began, I found my God in music and the arts, with writers like Hermann Hesse, and musicians like Muddy Waters, Howlin' Wolf, and Little Walter.

That is many poets don't know how to tell a story and they don't have a sense of how to put things in order to tell a story and we thought the poets could learn from fiction writers something about developing a character over time who wasn't just you and also creating a narrative structure.

Do you think that Hemingway knew he was a writer at twenty years old? No, he did not. Or Fitzgerald, or Wolfe. This is a difficult concept to grasp. Hemingway didn't know he was Ernest Hemingway when he was a young man. Faulkner didn't know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it's necessary

For anyone to understand a regime like the GDR, the stories of ordinary people must be told. Not just the activists or the famous writers. You have to look at how normal people manage with such things in their pasts.

I went on a long trip through South America with Prince Charles where I was the only journalist there - a couple of photographers but no other writers.