Quotes About Writing

I've always found it best to have a routine. I go to my study at the same time every day and climb into my bay window. I may not be inspired every day, but on the days I am, I need to be in place to write. If I'm not particularly inspired, I'll revise or do research or correspondence.

I don't use the Internet, as I don't like living with lots of distractions. I have tried, but I found it a hindrance. as my sense of priorities goes out of the window and it pulls me out of my writing, particularly with email. I'd sit there for hours just replying to emails.

I write in an old-school paneled study in the middle of a large farmhouse in rural Iowa. I have pine floors, a big cherry desk, and a small window. The room is cluttered with papers and books and gifts from friends.

The curse of being a songwriter is that's you're always at work. I could look out the window right now and see something that would make me want to write.

I stare out the window and reflect on the similarity between writing and saving a life and the inevitable failure of one's imagination and one's goals and ambitions to create a character or a life worth saving.

The sad thing is that, for many writers of fantasy fiction, the inclusion of magic seems to mean that logical ramifications and real-world laws both go out the window.

When I was living in Jerusalem, I used to write in a coffee shop called Tmol Shilshom. I'd sit at the same table every day and work. And right next to my seat was a weathered wingback chair by a window.

As a writer, I'm mostly at my desk, staring out my window. No one sees me.

I sometimes read about authors who say they require a perfectly silent room maintained at precisely 68 degrees, with trash bags taped over the windows and a white-noise machine in the corner to write, and I think, 'Who are these people, and do any of them have kids?'

I see the role of the writer as creating a room with big windows and leaving the reader to imagine. It's a meeting on the page.

I'm not one of those who can listen to music and write. I need the door closed. Windows shut. Facing the wall. No birds tweeting, views of nature, and so forth.

Writing is a creative process, and you need to have the doors and windows of your mind open so that you have the possibility of change.

For me a Writing Day was an occasion for self-reproach and panic, a time to lament the passing of the years, stare out of windows and remember that even those famous late starters Joseph Conrad and George Eliot had started by the age I was now.

When you're writing, I think a big part of writing comes out of an attempt to understand yourself. You're dealing with emotions and thoughts that are native to you. So that probably winds up in your characters.

There are so many ways of posturing that people associate with being a writer. They imagine you wearing a beret and drinking only red wine and being full of yourself, and so, for a long time, the way I felt about writing was too private. I felt it too important and didn't want to be teased about it. So I lied about it.

I do really enjoy Jay McInerney's wine writing. He's a good writer. He brings his fiction-writing skillset. He's not afraid to put wine in kind of a racy context and speak very candidly about it.

I have even written a book about Wine called The Grapes of Ralph.

Wine writers have been around for almost as long as there has been wine, but in the past, generally speaking, most wine writing was uncritical and emphasized wine as a romantic, historic beverage. Criticism and comparative tastings were eschewed for fear of offending the trade, which most writers depended upon for survival.

I would rise, monk-like, at 6 A.M., speak to no one, make tea, and go immediately to my desk from which I didn't move until frills appeared around the edges of my eyes or I heard the sound of a wine bottle being uncorked. It would give the wrong impression to describe these as Writing Days.

Where my dad taught me everything about writing, Graham Paterson, who gave me my first job at The Times, taught me everything about journalism, which is that it's no big deal, and it's more important to have a glass of wine.

When I was starting out, William Goldman took me under his wing, and he's still the person I show pages to.

If I do a bit on stage, I prepare too much. Those bits are all really, really carefully written, and overwritten, and researched. I really don't feel like I can wing it. So I write it out word for word, and when I'm onstage I'll improvise around it.

It was a shock to my system leaving 'The West Wing' and going to 'Psych.' I remember being like, 'What are you doing?' when James Roday first started improvising. Steve and the writing staff write it that way. They leave gaps.

I went to the Experimental Theater Wing at NYU and wrote and directed a small amount of stuff there.