Writer Quotes
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Eleanor Roosevelt loved to write. She was a wonderful child writer. I mean, she wrote beautiful essays and stories as a child. And Marie Souvestre really appreciated Eleanor Roosevelt's talents and encouraged her talents. Also, she spoke perfect French. She grew up speaking French. She's now at a french-speaking school where, you know, girls are coming from all over the world. Not everybody speaks French.
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I am not an autobiographical writer. I'll take little elements here and there from things that I've actually experienced-counting eyelashes on a sleeping beauty, for example.
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I make hip-hop, but use Doom as a character to convey stories that a normal dude can't. You have writers that write about crazy characters, but that doesn't mean the writer himself is crazy.
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When you're reading some of the great plays, when you do what I call "taking up with a writer," something happens.
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As a writer who has struggled with depression, the question is one that has long troubled me. Should I resist treatment, on the off-chance my creative output will somehow be affected?
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I am a driven writer. I feel guilty if I don't write, not self-indulgent if I do.
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Even the most honest writer lets slip a word too many when he wants to round off a period.
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To my mind, it’s one of the deepest gratifications the poet or fiction writer knows. I mean, the internal stumbling upon some satisfactory answer to the question, What is this like? Or, What does this remind me of? A comparison is laboriously but successfully introduced. You meet your metaphor, and it’s good.
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I think every writer lives for the thought that there will be a moment when somebody reads something on the page and says, "Yes!"
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I'm a writer. An amateur photographer. An actor.
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A catless writer is almost inconceivable. It's a perverse taste, really, since it would be easier to write with a herd of buffalo in the room than even one cat; they make nests in the notes and bite the end of the pen and walk on the typewriter keys.
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I know that the writer does call up the general and maybe the essential through the particular, but this general and essential is still deeply embedded in mystery. It is not answerable to any of our formulas.
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I regretted it. But it can’t be avoided. A writer has to use everything he has. If you want to write, you have to be willing to be a son of a bitch sometimes.
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But this I know; the writer who possesses the creative gift owns something of which he is not always master--something that at times strangely wills and works for itself. He may lay down rules and devise principles, and to rules and principles it will perhaps for years lie in subjection; and then, haply without any warning of revolt, there comes a time when it will no longer consent.
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You have to understand that people feel threatened by a writer. It's very curious. He knows something they don't know. He knows how to write, and that's a subtle, disturbing quality he has. Some directors without even knowing it, resent the writer in the same way Bob Hope might resent the fact he ain't funny without twelve guys writing the jokes. The director knows the script he is carrying around on the set every day was written by someone, and that's just not something that all directors easily digest.
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I did not always know I would be a writer. Until I had a room of my own, I did not write much at all - no more than any other child who read a lot of books. I began to write fiction and poetry when I first had a room that was truly my own with a door that shut and some measure, however fragile, of privacy.
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Speech is highly elliptical. It would scarcely be endurable otherwise. Ellipsis is indispensable to the writer or speaker who wants to be brief and pithy, but it can easily cause confusion and obscurity and must be used with skill.
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In every writer there is a certain amount of the scavenger.
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As a writer, I believe in going where the evidence takes me rather than coming in with a preconceived notion and forcing the evidence to fit that belief.
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In 1999 and 2000, when I was a young editorial writer at the 'Post', the 'Post' won the public service medal two years running.
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With luck, a writer capable of producing both Slouching Towards Kalamazoo and The Blood of the Lamb will not remain unappreciated for long.
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The writer who is a mother should, I think, record everything she can: make notes, keep journals, take photographs, use a tape recorder, and remind herself that there is a subject so incalculably vast significance to humanity, about which virtually nothing is known because writers have not been mothers.
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Don't scatter your fire! You are a prose writer: stick to your own tool!
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But it is not at all unthinkable for anyone to tell a writer how to write. It comes with the territory.
