Quotes About Writers

My two great heroes are W. B. Yeats and Federico García Lorca.

My heroes were never scientists. They were Graham Greene and Christopher Isherwood, you know, good writers.

All my big heroes are literary, writers.

Bob Hope was totally regimented. I go in and say a line like, 'Hi Bob' and I'd have to do it five times, and then Bob would take me to the writers to say the line different ways. He wouldn't let me ad-lib.

But there is also the minority of gifted, wilful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centred than journalists, though less interested in money.

I don't want to write a mass before being in a state to do it well, that is a Christian. I have therefore taken a singular course to reconcile my ideas with the exigencies of Academy rules. They ask me for something religious: very well, I shall do something religious, but of the pagan religion. . . . I have always read the ancient pagans with infinite pleasure, while in Christian writers I find only system, egoism, intolerance, and a complete lack of artistic taste.

I see journalists as the manual workers, the laborers of the word. Journalism can only be literature when it is passionate.

The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.

Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.

Perhaps writers should never be allowed to get together in a workplace context. It's not like studying computer science, after all. The emotions are at large, and are shared and are questioned. There is a vulnerability.

When I first read the story 'Guts' in workshop - my fellow writers that I've been meeting with for almost 20 years - they laughed; they didn't have any kind of shock reaction.

As an undergraduate, I took two writing workshops taught by Elizabeth Hardwick. She was certainly a major influence, though more as a writer I greatly admired than as a teacher. As for other writers, I think it's safe to say that my work has been and continues to be influenced to one degree or another by every writer whose work I love and admire.

Till the age of 40, actors are pleasing others, but after that is the time to command characters and ask for what we want from script writers.

I mean, comedy's hard. If you go back and look at the first season of 'Seinfeld,' it's a work in progress and that's what happens. It just takes time for people to figure each other out, and figure out timing, and to develop creatively with the writers.

In 2011, I contributed an essay to Tin House, 'The Dark Side of Dinner Dishes, Laundry, and Child Care,' talking about women writers I felt had fallen off the map.

I really like funny women. I'm drawn to women like Tina Fey and Amy Poehler and Kristen Wiig, Amy Schumer. They're writers, they're producers, they're actresses. They're brilliant, funny, excellent women.

There are certain expectations placed on writers if other people have put a value on their gender. I'm aware of the hundreds of tiny differences that happen when people are seeing your gender before they see something else.

I get very tired of books that feel emotionally empty. I would much rather have writers err on the side of being overly sentimental than not. I think that the perfect balance is a story that moves you without being maudlin, but I don't enjoy books that are empty of emotion and there's no connection to the characters.

When diseases and stories are chronic, doctors and writers often both run for the hills

The term bohemian has a bad reputation because it's allied to myriad clichés, but Parisians originally adopted the term, associated with nomadic Gypsies, to describe artists and writers who stayed up all night and ignored the pressures of the industrial world.

But really it says everything that's wrong about the publishing industry, that a quarter of a million people bought and read a sex and shopping novel that wasn't even written by one of those footballer girlfriends, and yet most of the shortlisted titles on the Orange Prize, which is an award for women writers, don't even sell ten thousand copies. It's just not right.

Some of the most friendly ghosts I live with are those of my favourite nineteenth-century science writers. Most of them were wrong, of course, but who cares? It's not like this is the end of history. We're all wrong.

Since—and this is why it changed how I read the Bible—God chose to communicate in language, since language is always shaped by context, and since God chose to speak to us over time through many writers, God also chose to speak to us in a variety of ways and expressions. Furthermore, I believe that because the gospel story is so deep and wide, God needed a variety of expressions to give us a fuller picture of the Story.

Writers aren't the most well-adjusted people, and it's telling that our preferred means of interaction with civilization is throwing paragraph-shaped grenades at people from behind the safety of a laptop.