Quotes About Writers

But the cinephile is … a neurotic! (That's not a pejorative term.) The Bronte sisters were neurotic, and it's because they were neurotic that they read all those books and became writers. The famous French advertising slogan that says, "When you love life, you go to the movies," it's false! It's exactly the opposite: when you don't love life, or when life doesn't give you satisfaction, you go to the movies.

Bezos also had a few strange notions about how the journalism process might be streamlined. He wondered aloud whether the paper would need so many editors if it simply hired great writers. Baron responded that if anything, the paper probably needed more editors. Bezos repeated that refrain so often that a few editors took to sending him the raw copy of high-profile journalists. Amazon said Bezos never received or read any such emails, but he eventually came to agree with Baron.

Yet as readers, writers, and teachers, our authentic context is the myriad countrymen and -women who live in a daily reality that is mostly not at all our own. Socioeconomic reductions of their stance help only in a limited way. Karl Marx is irrelevant to many millions of them because, in America, religion is the poetry of the people and not their opiate.

When you see runners in town, it's easy to distinguish beginners from veterans. Their hearts, lost in thought, slowly tick away time. When we pass each other on the road, we listen to the rhythm of each other's breathing, and sense the way the other person is ticking away the moments. Much like two writers perceive each other's diction and style.

Historians are concerned with events which can be assigned to specific timespace locations, events which are (or were) in principle observable or perceivable, whereas imaginative writers – poets, novelists, playwrights – are concerned with both these kinds of events and imagined, hypothetical, or invented ones.

Most important, White rejected the idea that one genre or trope was more appropriate for some historical event than another. He likewise rejected the idea that one genre or trope more accurately corresponded to what really happened in the past than another. Instead, he insisted that tropes were how writers prefigured the historical field—the past became available to us only through a poetic act of construction.

'Sleepless' was a script that had been written by three or four other writers before me, and it never really worked, but it had this amazing ending on the top of the Empire State Building that just worked, no matter what came before it.

My only problem with fans is when they turn pro. For example, when all the professional writers were fired by DC in the '60s, they brought in a generation of comic book fans who would have paid to have written these stories.

It is unfortunate that so much of the history of Africa has been written by conquerors, foreigners, missionaries and adventurers. The Egyptians left the best record of their history written by local writers.

There is not a special imposition on writers to be activists. All that does is encourage writers to write propaganda. Propaganda can be written by anybody, including dictators.

I think the actor has two responsibilities. One is to be visually compelling, and the other to recite the lines as written by the writers.

I found out about reviews early on. They're mostly written by sad men on bad afternoons. That's probably why I'm less angry than some writers, who are so narcissistic they consider every line of every review, even a thoughtful one, as major treason.

Many Scandinavian writers who had made their name in literary fiction felt they wanted to have a go at the crime novel to show they could compete with the best. If Salman Rushdie had been Norwegian, he would definitely have written at least one thriller.

Like so many aspiring writers who still have boxes of things they've written in their parents' houses, I filled notebooks with half-finished poems and stories and first paragraphs of novels that never got written.

I see so, so many novels written by people who are obviously short story writers. What they end up doing, it's going the full distance, covering three hundred pages or so, but they do it by just writing five or six long stories, and weaving them together, making them interdependent.

I do have the feeling that other writers can't help you with writing. I've gone to writers' conferences and writers' sessions and writers' clinics, and the more I see of them, the more I'm sure it's the wrong direction. It isn't the place where you learn to write.

Technology writers are seldom subject to frenzied, Beatlemania-esque paroxysms of public attention. June 29, 2007, was the exception. I was in the wrong place - Apple's Fifth Avenue store in Manhattan - with the right device. The iPhone.

I was a screenwriting major at Georgetown, and I was in class with some really strong writers like Jonathan Nolan, who co-wrote 'The Dark Knight' with Chris, his brother. He wrote 'The Prestige,' the story for 'Memento.'

I still run into people in the business who skip over any other credits I have and say, 'I loved 'Hey, Dude!' This was back in '88, '89, '90. It was a goofy show about kids working at a dude ranch in Arizona. We did 65 episodes; I wrote 13 of them. We didn't know what we were doing, but it was writers' boot camp. It was great.

I know that many writers have had to write under censorship and yet produced good novels; for instance, Cervantes wrote Don Quixote under Catholic censorship.

In OVW, it was like a different world, pretty much. They had the talent ready to stay around for a while, with guys who weren't over yet and guys who weren't retiring yet. With FCW, WWE were a bit more hands-on with the writers.

Sally Jenkins of the 'Washington Post' is the best sports columnist in the country. Second best is Gene Wojciechowski of ESPN.com, and third is Dan Wetzel on Yahoo!

The writers have slowly taken the show, with subjects other gay shows have dived right into, slowly. It was over a year before Will even started to date.

I made an awful mess of my first marriage. It was hard to live with me being me. I was so abnormal. I mean, most writers struggle. I hadn't struggled. I couldn't suddenly go down to the PEN Club and behave like a normal human being, because most of those guys were struggling to make a couple of thousand pounds a year.