Quotes About Writers

If you look at most womens writing, women writers will describe women differently from the way male writers describe women. The details that go into a woman writers description of a female character are, perhaps, a little more judgmental. Theyre looking for certain things, because they know what women do to look a certain way.

Most writers stick to what they know. The black experience is our experience, so it's not that challenging for us. That's why sometimes you'll see writers that start off telling black stories, but later branch out into other material. People say they "sell out." No, they evolve as writers.

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.

We live in a world filled with language. Language imparts identity, meaning, and perspective to our human community. Writers are either polluters or part of the clean-up team. Just as the language of power and greed has the potential to destroy us, the language of reason and empathy has the power to save us. Writers can inspire a kinder, fairer, more beautiful world, or invite selfishness, stereotyping, and violence. Writers can unite people or divide them.

The weirdest thing to me is that magazines would never do this for their writers. They would never hire a writer who writes for another magazine; they want to have their own stable of writers. Newsweek would never hire a TIME writer, and TIME would never hire a Newsweek writer - but they would both hire the same photographer to shoot a cover for them.

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.

I don't find any real rivalries with crime and thriller writers anyway. That might sound a little Pollyanna, but for the most part the writers I compete with, if you want to use that word, it's a pretty friendly rivalry. I think we all realise that the boat rises and sinks together.

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

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

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.

Most American writers don't get asked their opinion on current affairs, whereas in Europe and England, we still do. There are writers here who are the most sophisticated commentators, but they're not asked. Like Don DeLillo, who sort of forecast most of the modern world before it happened.

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.

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've never really understood that whole thing of writers avoiding other writers' novels while they're working on their own.

I think a lot of people compare female writers or female comedians to each other in a way that men are not. Male comedy writers are not scrutinized.

I mean, if we're concerned genuinely with writing, I think we probably get on with our work. I think this is very true of English writers, but perhaps not so true of French writers, who seem to read each other passionately, extensively, and endlessly, and who then talk about it to each other - which is splendid.

It's exciting having a student who is not used to expressing their emotional side and bringing that out in them and see that developing and helping to nurture that. That's an exciting thing. In a class of fifteen there are usually two very good writers, equal to good student writers anywhere in the country. Those two make the class wonderful.

Every writer owes something to a particular tradition he/she grew up in. But no serious writer - other than the militantly nationalist ones - would reduce his/her domain of influence to a single tradition. Furthermore, historical breaks are so common and large in Europe that there are ruptures in every tradition which then connect the same generations across national borders. Younger Eastern European writers, for instance, have more in common with other writers of the same age in Europe, than with the previous, communist-era generations in their own countries.

It's fun when the writers start writing jokes to you, but also it's fun when the writers will come to you and say 'Hey, listen, we're working on this story and we need to know if you speak any foreign languages.' And I said 'No, I don't. I speak a little Spanish, but I can learn a foreign language.' And they go 'Okay, do you think you can learn Portuguese?' And I go 'Yeah, whatever it takes. If it's funny, I'll do it.' So of course I start looking online and learning Portuguese, and as it turns out, I get the script and it's now Serbian.

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.

A lot of writers choose to live in New York, partly because of the literary culture here, and partly because Brooklyn's a pretty nice place to live. And a lot of writers who might not geographically reside in New York still point their ambitions towards New York in some sense.

Some writers later, describing the events of that night and day, wrote that Wan'yen of the Altai had seen a spirit-dragon of the river and become afraid. Writers do that sort of thing. They like dragons in their tales.

People say, 'What advice do you have for people who want to be writers?' I say, they don't really need advice, they know they want to be writers, and they're gonna do it. Those people who know that they really want to do this and are cut out for it, they know it.

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.

I want to see the writers strike because the writers, god bless them, are the only true commies we have in Hollywood.

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.

Writers, as they gain success, feel like outsiders because writers don't come together in real groups.

As an English major I was familiar with the stories of dozens of writers trying to get their work done among the multifarious diversions of the world and the hurdles of their own vices. A professor had said that what saved writers is that they, like politicians, had the illusion of destiny that allowed them to overcome obstacles no matter how nominal their work.

Many fiction writers eventually want to feel that their work forms a single, unified entity.

There are as many guys in coaching who do a lousy job as there are in the media. Those are two professions that are a lot alike. There aren't a hell of a lot of really good coaches or writers.

I think there are a lot more writers who are actors than you know; they just don't have roles on famous TV shows that you recognize.

I think writers have to be able to enjoy solitude rather than just endure it. I've always enjoyed being left alone with my imagination, ever since I was a kid.

Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

As you know from reading many of these Negro writers, we don't deal too much with the discussion of democracy and what it means and how improvisation fits in all that.

Successful writers learn at last what they should learn at first,--to be intelligently simple.

Some Iraqi writers are more daring today and have excellent imaginations and their material is rich in human experience. But the Arab prizes, once again, are part of the context of life in the Arab world - anarchy, confusion, and corruption.

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

Coming from the world of comics, I was very surprised that writers and illustrators, for the most part, don't talk, and they don't collaborate.

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

Ten Little Indians once again shows [Alexie] to be not just one of the West’s best, but one of the most brilliantly literate American writers, even funnier than Louise Erdrich, even more primal than Jim Harrison, and even more eloquent than Annie Proulx.

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.

Everyone wants to be open and inclusive, but nobody wants to pay for it. It's the biggest roadblock to translating living writers, especially poets.

The free-trade idea, logically applied, will abolish usury; and with usury will disappear the chief bone of contention between labor and capital. But, just at this point, free-traders go over to the enemy; and many writers on political economy, in flat contradiction of the essential principles of that science, have made elaborate arguments to prove self-government in finance, impossible! What shall we think of men who, having dethroned kings, demolished popes, destroyed slave oligarchies and assailed tariff monopoly, advise submission to the most oppressive and dishonest of despotisms, Usury?

When writers make us shake our heads with the exactness of their prose and their truths, and even make us laugh about ourselves or life, our buoyancy is restored. We are given a shot at dancing with, or at least clapping along with, the absurdity of life, instead of being squashed by it over and over again.

I think that some of the writing, directing, and the content is better than a lot of movies sometimes. Actors, well artists in general - actors, writers, directors - what we all care about the most is good work and being able to create something that is really resonant and meaningful.

In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.