Quotes About Writers

I'm not one of those women writers who are obsessed by their ego, possibly because I don't have one.

There was a time in the 1930s when magazine writers could actually make a good living. 'The Saturday Evening Post' and 'Collier's' both had three stories in each issue. These were usually entertaining, and people really went for them. But then television came along, and now of course, information technology... the new way of killing time.

There are plenty of good Indian writers in English, and none of us feel we are carrying the burden of being a poster boy.

For sure, without question, the writing is better on TV pound for pound than movies because the businesses have changed so much. So all the great writers would rather work for TV, and they do.

Cross-pollination and 'contamination' is really important to the health of fiction, and sometimes it's a literal conversation, too, in that writers who might never otherwise meet and talk do so because of our anthologies.

I want to contribute to the culture and keep great writers alive by telling the stories of their lives.

Lyrically, you know, most of the things on 'Rumours' were very autobiographical and very much conversations the three writers were having with other members of the band.

Many writers today are wanderers. There is not only an unhousedness in language - how to convey, to say nothing of converge - but an unhousedness of place.

Luckily for writers - and unluckily for history - every scientific idea creates human conflict.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.

Fiction needs writers and readers, and writers should cultivate both.

Canadian writers don't live in gated mansions; you can just talk to them when you see them lining up at the Second Cup.

I dress up cute sometimes to go to work, but TV writers don't! They just go however.

So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people's tables that I would make my own.

In the early '70s - a very good time for children's books and their authors - editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.

I'm a fool for a good role in a creative piece where there are really such talented writers and wonderful actors.

It's always the girl comedy and the guy comedy. It bums me out. You'd think there'd be a progression, from James L. Brooks and Nora Ephron into more subtle humor and behavior and psychology. All these interesting things people can learn about themselves by watching talented writers comment intelligently on someone else's emotional life.

A lot of journalists are talented enough to write a mystery novel, and I would say that most of the top-end mystery writers actually started out as reporters. But there is more to it than just the writing; there's a learning process, and most journalists aren't willing to do it.

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

Every opportunity I've had to work and act with incredibly talented directors, like Dean Holland was on 'Love,' and the writers and creators of that show, Judd Apatow, Paul Rust and Leslie Arfin, have been incredible learning experiences that have informed my creative process.

I love any books by Kelly Sue DeConnick or Marjorie M. Liu; it's lovely to have successful, talented female writers doing great work in comics.

As someone who grew up in Europe, I don't look at TV and automatically think of a primetime network series, created by a staff of writers. I think of 90-minute movies that can break talents out or a three 90-minutes-an-episode mini series that can introduce a fantastic new series like 'The Blechtley Circle.'

I think that Shakespeare himself raided fairy tales and chronicle writers, and he always looked to people who worked in the mythic genres, whether it was folk tales or popular novels.

The talk shows in the States want celebrities, not authors. In France, it is different; writers are called upon to comment on everything. They have a very public role there.