Quotes About Writing

I write all the time. Some of them are very personalized things. Some of them are sarcastic looks at life.

In Bengali films, since I also write the lyrics, there are certain songs, which I get emotionally and personally attached to.

It is vitally important for me, both personally and for my writing, to be able to return to China freely, so being barred entry has caused me deep concern and distress.

Personally, I read a lot of scripts.

I, personally, have found reading a continual support to writing.

I believe in collaboration. I think that is the most entertaining and effective way to write for me, personally.

I think that I have every right to write a book. I think I'm interesting. I have perspective about me.

I've always been interested in writing from the perspective of an outsider.

If you read any of my books, they tend to have a strong historical perspective.

General writing about science, even if we do it badly, helps us to see our work in perspective and broadens our vision.

The more women sit down and write something in a woman's voice for a woman, they more you'll see women in comedy because gender doesn't define sense of humor. Imagination and intelligence and perspective do.

I chose to write from different perspectives despite its complexity because it is what I have always done as a journalist.

I think you can tell stories and give perspectives and yet still keep stuff for yourself, too. I keep a lot of my life private, even in a public forum like writing.

It is a lot harder to write a good book or a good column in a persuasive way without making fun of someone or ridiculing them.

Outside of interviews, I spend very little time thinking about myself. I spend time thinking about my writing and my children and other things that are pertinent.

All writers have their own pet commandments.

My best time to write is right after coffee and breakfast - four eggs - because, full disclosure, I'm really a komodo dragon - and that's because then I'm energized but not so awake that the critical voice clicks on, the voice that sometimes says, 'Don't write that,' or, 'Man, that sentence is terrible - you should give up and go pet the cats.'

'Lovelace' was really great. I got to work with the wonderful Amanda Seyfried, Hank Azaria and Peter Sarsgaard, so it can't get no better than that, right? I had a blast, and the film is a very, very well put together movie - from the director to the writing the cast.

A petty reason perhaps why novelists more and more try to keep a distance from journalists is that novelists are trying to write the truth and journalists are trying to write fiction.

What I find curious is that I ever became a writer at all. I grew up in the South Bronx, the land of poverty and petty hoodlums.

'Weedflower' was already in the copyediting phase when I heard about the Newbery award, so it didn't really influence my writing of that book, but since then, I have become more aware of having an audience.

I always wanted to be a writer, from being a little kid onwards. My dad and my mum both had phases when that was what they did.

My greatest joy comes from creativity: from feeling that I have been able to identify a certain aspect of human nature and crystallise a phenomenon in words.

I wanted to write a book about poverty that wasn't only about the poor. I was looking for some sort of narrative device, a phenomenon that would allow me to draw in a lot of different players. I was like, 'Shoot, eviction does that.'