Quotes About Writing

I never wrote for children. I wrote with respect for the audience, which I've maintained all my life. Doesn't mean I couldn't be risque, but I did it smartly, without being vulgar.

I am well-nigh resolv'd to write no more tales but merely to dream when I have a mind to, not stopping to do anything so vulgar as to set down the dream for a boarish Publick.

There's a bizarre prejudice that exists in the New York publishing establishment that any work outside the tri-state area is being done by trained chimpanzees, that geography screens out sensibility. There's an idea that all Los Angeles writing is about the movie industry, that it's vulgar, shallow and banal.

Comedy in the past hasn't spoken to women because it wasn't written by women, and male writers don't make women three-dimensional characters. Too often, women just facilitate the man's comedy: they're not crazy; they're not funny. But women are as vulgar as they are elegant, as stinky as they are smelling of eau de parfum.

There is something a little vulgar about writing a novel that is too close to the present, too concerned with current events, too eager to critique technological advancements.

When I started to write 'Hannah's Child,' I realized that this had to be a book of passion, to have a certain kind of vulnerability. I think that people respond to that.

I really appreciate what it takes to create a book. I understand the loneliness that it involves and the excitement and the vulnerability: I especially identify with that.

It was really important that 'Dream' kept the balance of strength and total vulnerability - which was my exact headspace when it was being written.

The comic book writer Kelly Sue DeConnick really uniquely tapped into Carol Danvers - not just her toughness and her power, but also her vulnerability.

Most of the time I feel stupid, insensitive, mediocre, talentless and vulnerable - like I'm about to cry any second - and wrong. I've found that when that happens, it usually means I'm writing pretty well, pretty deeply, pretty rawly.

I write a lot about disadvantaged people, particularly vulnerable children, because I feel that that's who I was. That is familiar terrain for me. And I try to write about things that are very close to me because I want people to feel the passion that I have for the subject.

Like the child, the creative writing student is posited as a centre of vulnerable creativity, needful of attention and authority.

I think I'm a good writer. I think I have my own voice, which is unique to everyone - everyone has their own voice; if they would just write from a vulnerable embarrassing place, it's going to be universal, and it's going to be entertaining. Because everyone is the same, and everyone is unique.

I just love doing radio. I've learned to be more vulnerable through radio than even I've been through books and writing lyrics. It's a different type of experience where, if I'm writing a lyric, I can sort of hide behind it a little bit.

In 'Straight Talking,' I had bared my soul, and the press attention had been overwhelming. There were times when I felt scared and vulnerable, regretting the articles I had written to publicize the book, regretting I had opened my life up for all to see.

I never learned to be a writer. I never took screenwriting courses. I never read anyone's scripts. As a writer, my only guiding principle has been to write about things that scare me, write about things that make me feel vulnerable, write about things that will expose my deepest fears, so that's how I write.

With each book, I've found myself more and more able to draw off the personal and still be as vulnerable as I need to be as a writer.

I've always viewed writing as an outlet for being vulnerable and all that comes with that. You are able to let things all out.

But I always need to identify with a character to write about him or her - and by 'identify,' I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.

I always say that, for me, writing a book is like a wacky Greyhound bus trip - I know where I'm starting and where I'll end up, but I have no idea what will happen along the way.

She told fortunes for a living. It's a wacky book and was great fun to write. It is very much a look at what life was like for women in Australia in the 1960's.

I've been guilty of being in the writers' room and going too dark; other people have gone too wacky and zany.

There's a certain exhaustion that sets in when screenwriters are approaching sequels, and they start to lean on crutches - those same old wacky characters!

I was doing this really wacky sketch comedy but at the same time writing these dark, cerebral plays about characters coming to grips with their loneliness and heartbreak. My dream job has always been a way to combine the two. I would say 'BoJack Horseman' is the culmination of all of that.