Quotes About Writers

I always like to hang out with whoever's directing and watch what they do. I hang out at Video Village, the area where the directors and the writers and script advisors are.

My own experience with being interviewed is mixed. I suppose they're a part of my job, and as I would like readers to connect with my books, I do them. I've also made many lifelong friends whom I first encountered as interviewers - as a writer, they're a terrific way to meet and add smart new people to one's life.

I do feel fortunate to have some knowledge of the great Latin American writers, including some that are probably not that well known in English. I'm thinking of Jose Maria Arguedas, whom I read when I was living in Lima, and who really impacted the way I viewed my country.

There are a lot of writers who just want to do their own thing and avoid the rest of the Marvel Universe. But for me that was one of the things I loved about Marvel: that shared universe. So of course you would run into a mutant in Manhattan. You would run into another hero in Manhattan. For me, I figured why not? Why not have that fun?

Statistically, I'd say comedy writers are perhaps the sanest category of show people. And why not? They make big money, and although it's not an easy trade - particularly when you're at your galley oar five days a week - it's easier on the nerves and the psyche than living with the brain-squeezing pressure and cares of being the Star.

As for what's the most challenging aspect of teaching, it's convincing younger writers of the importance of reading widely and passionately.

Living in a cultural milieu where the foreign writers most widely available and admired were Russian, I came very late to postwar American writers, and I had great trouble with the canonically exalted white male writers I tried first.

I think it's easier to be cynical. I think the temptation, often, among writers is to write about anything other than real, true, deep feelings.

There's always a temptation, I think, among some historical writers to shade things toward the modern point of view. You know, they won't show someone doing something that would have been perfectly normal for the time but that is considered reprehensible today.

The celebrity sense of writers is something which is very tempting... But the enthusiasm comes from the fact that it's such a natural activity, storytelling.

It's worth being suspicious of writers - or anyone! - who does that myth-making thing. There's always a tendency to retrospectively impose structures on a life. Life as it's lived has a far more complex shape.

This is not the story of Elektra from the comics. We're telling the story of 'Daredevil.' In this aspect, the storylines accentuate the sociopathic tendencies in her. The writers wanted to highlight that Elektra is quite manipulative and doesn't seem to have a conscience.

Animation tends to have several different writers who serve different functions. I think, on a lot of animated features, there are a lot of writers who don't get credited. It's the policy at Disney, for instance, in deciding who gets credit. It depends on the writer's contract, so many things.

Well, certainly I don't think that there are very many good writers who don't live without a sense of tension. If they haven't got one immediately available to them, then they usually manage to manufacture it in their private lives.

Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!

No matter how hard we strive for objectivity, writers are biased toward tension - those moments in which character is forged and revealed.

I have been definitely influenced more by Latin American writers than by any other type of writer. They are very close in terms of voice - their humor, their fatalism, their... well, that over-used term 'magical realism.' It's a wonderful term that's just been used so much, we don't know what it means anymore.

I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.

I'm terrified of getting what I'm not deserving of, feeling that I've got something for nothing... at the expense of brilliant starving writers all over the world. But I have to hope these people who are helping me have integrity.

Terrorists are people, too - they are given to error. Naipaul and then DeLillo do a good job in their novels of drawing this out: I'm thinking of DeLillo's contention in 'Mao II' that terrorists have replaced writers as the people who 'alter the inner-life of the culture.' I thought that was marvellous!

I used to be a model and a medical test subject, though never at the same time. And since we didn't have much money when I was a kid, I know how to fish and hunt for my supper. And I used to win awards in speech in high school, which comes in handy when I speak to 200 people at a writers' conference.

I don't think poetry is something that can be taught. We can encourage young writers, but what you can't teach them is the very essence of poetry.

Our most famous writers are Faulkner and Eudora Welty and Flannery O'Connor. It would make sense that the poetry would reflect some of those same values, some of the same techniques.

Symmetry suggests one myth, or significance: the drinking of writers coming from too much concentration, in solitude, upon feelings expressed for or even about possibly indifferent people, people who are absent or perhaps dead, or unborn; the suicide of psychiatrists coming from too much attention, in most intimate contact, concentrated upon the feelings of people toward whom one may feel indifferent, people who are certain, sooner or later, to die...