Quotes About Writing

At one point, I had a story accepted at the 'New Yorker,' which sent off weird bells in people when I told them - 'Oh,' they thought, 'now you are a writer' - where I really had been for the last 30-odd years.

Back in 1992, I had my first story accepted by 'The New Yorker.'

I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.

'The New Yorker's fiction podcast I like a lot, where they have authors pick short stories by other authors that appeared in 'The New Yorker.'

One of the nice things about 'The New Yorker' is they let you write stories that sometimes end up almost half a book.

It took me a long time to be able to write for the 'New Yorker,' and for me, that has been the best job. I live a very conventional life, but reporting for the magazine has allowed me to do things I would never otherwise do, such as investigating a criminal conspiracy in Guatemala or trekking through the Amazon looking for a lost city.

If you're on a contract at 'The New Yorker,' the contract specifies the number of words you will publish in the magazine per year. I get paid by the word, like most writers. That's one reason why the Scientology article was 25,000 words long!

I went through a stage of writing my cramped hand in tiny books. My two sisters and I did have our Bronte period. My mum is from Yorkshire, and we would go up to the Moors. It tapped into our romantic visions of ourselves.

At the age of 10, I had my first piece published in what was known as the 'Junior Post,' which was part of the 'Yorkshire Post,' and it was just for kids. I read it every week. And I got paid for it. So I thought... 'I can actually do this. I can get paid to write, and this is going to be fine.' I wrote several pieces for them.

The problem with writing a book in verse is, to be successful, it has to sound like you knocked it off on a rainy Friday afternoon. It has to sound easy. When you can do it, it helps tremendously because it's a thing that forces kids to read on. You have this unconsummated feeling if you stop.

I always swore I would never write a book. But I read Clare Balding's and it was really interesting and so prettily written and lovely and not too revealing. I went to her book launch and met her editor who said 'why don't you think about it? You can do it however you want, based on your characters or you.'

It was my great problem to solve: how to write a book, you know. And after you write one, you have to write another to prove to yourself you can do it again.

So much better to write pen on paper; you can do it anywhere, say, while stuck at the airport.

Writing a novel - unlike operating a piece of heavy machinery, say, or cooking a chicken - is not a skill that can be taught. There is no standard way of doing it, just as there is no means of telling, while you're doing it, whether you're doing it well or badly. And merely because you've done it well once doesn't mean you can do it well again.

If tomorrow someone writes a romantic story, I'd like to bring a romantic shade of mine too. When someone puts that trust in you then you can do it.

Reading and writing, like everything else, improve with practice. And, of course, if there are no young readers and writers, there will shortly be no older ones. Literacy will be dead, and democracy - which many believe goes hand in hand with it - will be dead as well.

A workshop is a way of renting an audience, and making sure you're communicating what you think you're communicating. It's so easy as a young writer to think you're been very clear when in fact you haven't.

I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.

When you're starting off as a young writer, you look at all the stuff that's gone before and the stuff that's influenced you, and you reach the ladle of your imagination into this bubbling stew pot of all of this stuff, and you pour it out. And that's where you start from.

On the 'Star,' you were forced to learn to write a simple declarative sentence. This is useful to anyone. Newspaper work will not harm a young writer and could help him if he gets out of it in time.

For correct writing, the cultivation of patience and mental accuracy is essential. Throughout the young author's period of apprenticeship, he must keep reliable dictionaries and textbooks at his elbow; eschewing as far as possible that hasty extemporaneous manner of writing which is the privilege of more advanced students.

It was David McCullough's 'The Johnstown Flood' that lit my imagination as to how I might one day go about writing book-length nonfiction, though my favorite of his books is 'Mornings on Horseback,' about the young Teddy Roosevelt.

I think for me I was in kindergarten, so I was very young and my teacher acknowledged that I was very dyslexic when it came to reading and writing and processing that information.

I wanted to write when I was young, but people said it was impossible. Then my parents locked me in a mental institution - they said I was crazy and would never make a living from writing.