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 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.

Maybe just as many women writers as male writers could be billed as the next great American writer by their publisher. Maybe book criticism sections could review an equal amount of female and male writers. Maybe Oprah could start putting some books by women authors in her book club, since most of her audience is women.

For the social ecologist language is not "communication." It is not just "message." It is substance. It is the cement that holds humanity together. It creates community and communication. ...Social ecologists need not be "great" writers; but they have to be respectful writers, caring writers.

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 think about the collaboration between writers and readers, but I also think about the collaboration between all the writers in a generation or in a country or across time contributing to this massive project of documenting and reimagining our world.

I think what makes you feel so connected with certain writers isn't a matter of autobiographical detail, but that the emotions are real. The way some writers are able to channel themselves through the form.

When I taught at the University of Houston in the Creative Writing program we required the poets to take workshops in fiction writing and we required the fiction writers to take workshops in poetry. And the reason for that is because the fiction writers seemed to need to learn how to pay greater attention to language itself, to the way that language works.

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've never thought about the con of living in New York as a writer. Because I always think, Oh, what fun to be around so many writers. Because I've never been around so many writers.

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 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.

Cheers was one of the first shows where I paid attention to the writers because their [work] was better than everything else I was watching. The writers weren't afraid to let a joke fall slightly flat if it advanced the characters.

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.

Great writers create; writers of smaller gifts copy

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

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.

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.

It's very much a back and forth conversation between the fans and the writers, between the writers and the powers that be. Their opinions, especially when expressed online or via correspondence, are important and are taken into consideration.

Though not all reading children grow up to be writers, I take it that most creative writers must in their day have been reading children.

Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.

So I have no grounds to complain; on the contrary, writers should consider the condition of permanent controversiality to be invigorating, part of the risk envolved in choosing the profesión. It is a fact of life that writers have always and with due consideration and great pleasure spit in the soup of the high and mighty. That is what makes the history of literature analogous to the development and refinement of censorship.

There are so many different kinds of writing and so many ways to work that the only rule is this: do what works. Almost everything has been tried and found to succeed for somebody. The methods, even the ideas of successful writers contradict each other in a most heartening way, and the only element I find common to all successful writers is persistence-an overwhelming determination to succeed.

It's a tough time for screenwriters right now, because fewer movies are getting made. I'm enjoying television so much. It offers opportunities for writers to be in a writers' room and work their way up. It's somewhat easier because there's more of a community. There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.

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

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.

[On the writers she admires:] I prefer dead writers, because I don't see them at parties.

There is this thing called the university, and everybody goes there now. And there are these things called teachers who make students read this book with good ideas or that book with good ideas until that's where we get our ideas. We don't think them; we read them in books. I like Utopian talk, speculation about what our planet should be, anger about what our planet is. I think writers are the most important members of society, not just potentially but actually. Good writers must have and stand by their own ideas.

A newspaper, as I'm sure you know, is a collection of supposedly true stories written down by writers who either saw them happen or talked to people who did. These writers are called journalists, and like telephone operators, butchers, ballerinas, and people who clean up after horses, journalists can sometimes make mistakes.

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.

Writers are a loosely knit community - community is an overstated word. Writers don't see each other very much.

No writer who knows the great writers who did not receive the Prize can accept it other than with humility. There is no need to list these writers. Everyone here may make his own list according to his knowledge and his conscience.

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.

The English may not always be the best writers in the world, but they are incomparably the best dull writers.

What we're trying to do as writers is rescue, preserve this space of thoughtfulness of language, of a deeper and more honest appreciation of our reality. And, so, we have to work even harder as writers against this tide of silliness, against this tide of superficiality, against this horrible Greek chorus on Twitter where everyone is insulting each other and now we have an insulter-in-chief, who's risen to the presidency by insulting people.

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 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

Most writers write to say something about other people - and it doesn't last. Good writers write to find out about themselves - and it lasts forever.

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.

Writers, and particularly female writers, have to fight for the conditions they need to work.

There's that unwritten schism that literary writers get all the awards and commericals writers get all the success.

Other people, some other writers, will win certain accolades or sell in far greater numbers than me - and I'm a legitimate best-selling author - but I live and die for the work. That's thrilling to me. It's thrilling that I do for others what certain writers did for me when I was a kid.

I am not retiring. Writers don't retire. Writers never stop writing.

I don't really deeply feel that anyone needs an airtight reason for quoting from the works of writers he loves, but it's always nice, I'll grant you, if he has one.

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

Many writers write across difference of one kind or another. Sometimes the difference is large and recognizable: gender, or race, or religion, or sexuality. And sometimes the differences are smaller. ... Where authors get into trouble is in trying to make those different characters stand in for whole groups of people, or for creating characters only to fetishize or explore their supposed otherness. Your character can be wildly different from you, as long as he's written with respect and, moreover, specificity.

I have only one bit of advice to beginning writers: be sure your novel is read by Rodgers and Hammerstein.

Trade book publishing is by nature a cottage industry, decentralized, improvisational, personal; best performed by small groups of like-minded people, devoted to their craft, jealous of their autonomy, sensitive to the needs of writers and to the diverse interests of readers. If money were their primary goal, these people would probably have chosen other careers.