Writer Quotes
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Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him?
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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.
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I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.
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In every writer there is a certain amount of the scavenger.
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Of course, English is a very powerful language, a colonizer's language and a gift to a writer. English has destroyed and sucked up the languages of other cultures - its cruelty is its vitality.
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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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A writer is an organism that will go on writing even after its heart has been cut out.
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The writer studies literature, not the world.
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Every published writer, myself included, was at one time unpublished. All writers know what rejection feels like.
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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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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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Don't scatter your fire! You are a prose writer: stick to your own tool!
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Well, I went to [Hitchcock's] house every day for about three weeks, and I realized that every time I brought up the subject of Mary Deare, he would change the subject. So, I began to suspect that he didn't know any more about how to do the picture than I did. Finally, I went to his house one morning and said, "I've got bad news for you, Hitch. You'll have to get another writer. I don't know how to write this picture." And he said, "Don't be silly, Ernie. We'll do something else." And I said, "But what'll we tell MGM?" And he said, "We won't tell them a thing." And that's how it evolved.
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I think it's very, very, very hard to get a book published. I never want to be one of those teachers that say, 'don't do this, ' because how sad would the world be if people didn't create art and write? But, it's not an easy journey being a writer.
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I once knew a writer who, after saying beautiful things about the sea, passed through a Pacific hurricane, and he became a changed man.
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I consider myself a writer. I always wanted to act, and as a teen, I studied acting devotedly. Eventually, I got writing work, but very little acting work.
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When a writer develops a story, he is confronted with a poison that is inside him. If you don't have that poison, your story will be boring and uninspired. It's like fugu: The flesh of the pufferfish is extremely tasty, but the roe, the liver, the heart can be lethally toxic.
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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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Robert Smigel is one of the greatest comedy writers in the last 50 years. "TV Funhouse" and Triumph and all those sketches. He's really unique, and he has an amazing comedy mind.
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I don't know if I want to be a writer.
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The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.
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I wrote about the life of a housing officer in Britain, in a pretty rough area of London. Maybe it was because I'm a big-mouth and an exhibitionist, and I'm slightly egotistical. All those things have to come together for a writer.
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The main thing that drew me to him was that he was a beautiful writer, not just the clarity but the aptness of expression.
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I do my best writing between 10 p.m. and 5 a.m.. Almost every friend I have who is a consistently productive writer, does their best writing between 10 p.m. and 8 a.m. My quota is two crappy pages per day. I keep it really low so I'm not so intimidated that I never get started. I will do the gathering of interviews and research throughout the day. I'll get all my notes and materials together and then I'll do the synthesis between 10 p.m. to bed, which is usually 4 or 5 a.m.
