Quotes of All Topics . Occasions . Authors
I made a very good living as a bad writer. I wrote a lot of comedies, 'Diff'rent Strokes,' 'Facts of Life,' while all my friends were doing the good shows, like 'Cheers,' but I loved it because I got to be a working writer in Hollywood.
Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
I'm a very emotional writer. I always need to have a boyfriend. I always need to have some food. I always need to have a heater at my feet, and I drink this thing called Cool Brew, which I found in Louisiana. It's like condensed coffee.
I feel very lucky and privileged to be a writer. I feel lucky in the sense that I can branch out into prose and tell different kinds of stories and stuff. But being a writer is so great because you're literally not dependent on anybody.
When I was growing up, I dreamed about becoming a cowgirl, a detective, a spy, a great actress, or a ballerina. Not a dentist, like my father, or a homemaker, like my mother - and certainly not a writer, although I always loved to read.
I take for granted that for the imaginative writer, the exercise of the imagination is part of the basic process of coping with reality, just as actors need to act all the time to make up for some deficiency in their sense of themselves.
I'm usually really drawn to a song, and I know it would be good to cover if it sounds like something that I could write, or I wished I could write. Sometimes a writer just sounds like they're in your head, and that is really cool for me.
Whatever China I'd been born into, I would probably still have become a painter - I loved sketching portraits as a child, and began art classes at the age 7. But if China hadn't been under Maoist rule, I might never have become a writer.
I don't believe in writer's block. Think about it - when you were blocked in college and had to write a paper, didn't it always manage to fix itself the night before the paper was due? Writer's block is having too much time on your hands.
Fortunately, our audiences are used to a kind of boredom in the theatre, and if the writer is skillful, he will flatter them into thinking: 'Why, that's us up there, and aren't we - for all our little foibles - pretty nice guys and gals?'
Increasingly, there are those of us who write from outside the center, and those are the writers that I'm most interested in because they bring me into worlds that I did not previously know. And that, as a writer, is what I try to create.
I started out as a writer and a director. I started acting because I wanted to know how to relate to the actors. When people ask me what I do, I don't really say that I'm an actor, because actors often wait for someone to give them roles.
I was a little press writer when the National Endowment for the Arts came to my rescue and gave me an award. I couldn't buy a light bulb. Almost more than the money, the awards are important because they show that someone believes in you.
A writer has a difficult fate, but a Jewish writer has an especially difficult fate. His soul is torn; he lives on two streets with three languages. It is a misfortune to live on this sort of 'border,' and that is what I have experienced.
Faulkner is a writer who has had much to do with my soul, but Hemingway is the one who had the most to do with my craft - not simply for his books, but for his astounding knowledge of the aspect of craftsmanship in the science of writing.
We're all born storytellers. It's part of the species. But, more specifically, I suppose a particular combination of sensitivity and trauma made me a writer: an essential disquiet with reality, which required exploration through portrayal.
As a writer, I have to go to a different place now. As a person... I want to step off whatever this stage is that I have been given. The argument has been made, the battle remains to be fought - and that requires a different set of skills.
I'm a transactional lawyer, which involves a lot of negotiation. If nothing else, that's given me a good eye for human motivation and frequent case studies in peculiar psychological quirks. I think that's served me fairly well as a writer.
All the writing elements are the same. You need to tell a good story... You've got good characters... People think there's some dramatic difference between writing 'Little Bear' and the 'Hunger Games,' and as a writer, for me, there isn't.
I've always thought that, as a romance writer, I had the best job in the world. I sit around all day making up emotion-drenched, conflict-laden stories that push my heroes and heroines to the edge of sanity. Then I give them a happy ending.
As a writer, I've always been the sum total of my influences, and those are all over the spectrum: Rachmaninov, the Who, the Beatles, the Beach Boys, Lesley Gore, Burt Bacharach and Leonard Bernstein, the Rolling Stones and the Small Faces.
When I was writing the story of 'Omerta' I was not writing it to make a film or something. But when a filmmaker like Hansal Mehta picked up my story and turned it into a film, I thought that now I can consider myself as a legitimate writer.
There are three reasons for becoming a writer: the first is that you need the money; the second that you have something to say that you think the world should know; the third is that you can't think what to do with the long winter evenings.
As a novelist, where do you go to tap into memories, and impressions, and sensations? It's usually, in my experience, your early life, before you started thinking of yourself as a writer, because somehow those experiences are unadulterated.
Quite often you want to tell somebody your dream, your nightmare. Well, nobody wants to hear about someone else's dream, good or bad; nobody wants to walk around with it. The writer is always tricking the reader into listening to the dream.
Hemingway was a jerk. I mean he was really a great jerk. He was a good writer, and he did all sorts of things that I would never have the courage to do, but I don't think I'd enjoy being in the same room with him. He's not my kind of person.
If you're a photographer, they give you a camera. If you're a writer, they give you a typewriter. If you're an umpire, they give you an unseen object and they call it a strike zone, and nobody seems to agree with you no matter what you call.
As I read more and more - and it was not all verse, by any means - my love for the real life of words increased until I knew that I must live with them and in them, always. I knew, in fact, that I must be a writer of words, and nothing else.
My whole life experience feeds into my writing. I think that must be true for every writer. Clearly the Army and combat were major influences; just the same, you need to understand that many of the writers we have now couldn't load a revolver.
Any writer kind of who knows what they're doing goes forth and grabs a copy of an issue of something that they want to be published in, or they skim it online. They read what that market has been doing. They see a particular flavor of fiction.
The characters in a novel are made up, figments of the writer's imagination. I'm sure this won't come as a surprise to anyone, and it's not surprising to me either, but knowing this, feeling this, definitely made writing my second book harder.
I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it.
As a black woman, I've always had to work hard to earn my respect as a musician - and as a young woman, too. As a writer, in certain sessions or certain rooms people think, 'Who's kid is this? Who's this little girl?' I've had to prove myself.
Look, in 1800 the sainted Thomas Jefferson arranged to hire a notorious slanderer named James Callender, who worked as a writer at a Republican newspaper in Richmond, Va. Read some of what he wrote about John Adams. This was a personal slander.
Let me now praise the American writer James Dickey. In 1970, his novel 'Deliverance' was published. I found it to be 278 pages that approached perfection. Its tightness of construction and assuredness of style reminded me of 'The Great Gatsby.'
You can't be a 21st-century science fiction writer writing about Mars without doing tips of the hat to Edgar Rice Burroughs, to Ray Bradbury, to H.G. Wells, to the guys who first put it in the public imagination that Mars was an exciting place.
I'm not a writer that writes every day. I just kind of have ideas. I jot them down when I have them, and when I have enough, I just start. And for me, I start more around noon, and I'm all about feeling. Once there's a theme, I can't not write.
'Lives' is one of those books I should really have written when I was younger. It is the classic childhood, adolescence, breakthrough-into-maturity book. Every beginning writer has that material - and after that, you're not sure what you can do.
'Catholic writer' seems like you have an agenda of evangelization, as if you were somehow influenced in your choice of perspective by dogma or canon law. That has nothing to do with me. I don't have a lot in common with other 'Catholic' writers.
Confidence is highly overrated when it comes to creating literature. A writer who is overly confident will not engage in the struggle to get it exactly right on the page - but rather, will assume that she's getting it right without the struggle.
A lot of my writer friends - some of whom are brilliant - work when the Muse calls them, for lack of a better description. You know, days of nothing, then this creative burst where they write for 36 hours straight fueled by caffeine and idealism.
It's a bit cliche, but you can't go wrong by writing what you know. Even if you're a horrible writer, your own knowledge and experience is unrivaled. Nobody knows what you know like you know what you know. The way you see things is pretty unique.
When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.
'Great Expectations' was an important novel in my adolescence. It was very much one of those emblematic novels that made me wish I could write like that. It helped that my models as a writer were dead over a hundred years before I began to write.
As a writer, as much as I try, I can't stop writing female characters. They have so much more to offer; they have to wear so many different hats. There's so much wonderful gray matter in a female's life that it just makes for a stronger character.
The great advantage of being a writer is that you can spy on people. You're there, listening to every word, but part of you is observing. Everything is useful to a writer, you see - every scrap, even the longest and most boring of luncheon parties.
As an American writer, the literary tradition that I draw on the most is the Anglo-American one, and when you are writing in this tradition, the Orientalizing Western gaze is something you have to constantly push against as well as compromise with.
As a freelancer, as a writer, and running my company, people have always tried to negotiate me down. Some might think that I might accept their offers because they think I don't have many options. The truth is, I always have options available to me.
Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.
My guiltiest pleasure is Harry Stephen Keeler. He may have been the greatest bad writer America has ever produced. Or perhaps the worst great writer. I do not know. There are few faults you can accuse him of that he is not guilty of. But I love him.