Quotes About Writers

I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.

Yiddish, originally, in Eastern Europe was considered the language of children, of the illiterate, of women. And 500 years later, by the 19th century, by the 18th century, writers realized that, in order to communicate with the masses, they could no longer write in Hebrew. They needed to write in Yiddish, the language of the population.

The prejudice is still there, but it's breaking down. You have writers like Michael Chabon and The Yiddish Policemen's Union. He's a writer who's determined to break down genre barriers. He's done amazing things.

Most of the writers in TV are from L.A. or New York, and those are places where people are cynical and snarky. And they fly from L.A. to New York in an airplane over this vast, expansive land where people aren't snarky; they're a lot more like the 'Parks and Rec' characters.

I tell myself that some names can be mistakes, like Mxyplyzyk, a store in New York that lost customers because few could spell its name to look up the address. I tell myself that lots of writers agonize over titles, and often get them wrong at first.

William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.

I don't know what's coming down the pike in 'Gotham.' Part of me goes, 'Man, I just wish I could be in the writers' room. Do you need someone to make you guys coffee?' I just want to be a part of the flow of it.

The Longstockings are eight children's and young adult writers. We all came out of the New School MFA program, and we meet regularly to critique each other's work.

My parents were journalists and friends with writers, artists, and just a really interesting assortment of people, so I was exposed to all lifestyles from a young age.

Television and cable have become the new independent films, in a sense, for writers and actors to gravitate towards. That's why I like short films, too; I love doing readings, audio books, working with young filmmakers; anything that keeps you from getting blase about yourself or in a rut.

I've been in the songwriting circuit as well. I've been in a couple writing camps where there are seven top writers or whatever, and they're writing songs for a young girl or a young guy that are coming up, and they're kind of nuts.

I'll bet you $10 right now that there are an awful lot of literary writers who started a long time ago and now they find themselves in this place where secretly they feel trapped. And you know what they really read for fun? They read crime fiction.

As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.

One of the things the 'Tao of Travel' shows is how unforthcoming most travel writers are, how most travelers are. They don't tell you who they were traveling with, and they're not very reliable about things that happened to them.

In terms of the Eastern Europe stories, my family is originally from there; even as a kid, it was the Russian writers I loved most, and I've spent a substantial amount of time there myself, traveling and on research grants.

I don't much enjoy travelling, but I have always longed to take a slow train to Russia. I'd like to go alone - like writers do - with only a pencil and piece of paper as company. I'd take my sketchbook and note down all the wonderful details of other travellers.

It really matters to writers to find and treasure readers, all the more when they're on the other side of the world.

'American Playhouse' is very supportive of writers. That's really why writers like to write for 'American Playhouse' for very little money. They care about making your play, your script, not some network production. We're treated like playwrights, not like fodder for some machine.

Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.

I'm so thrilled to have won the RITA. The award is particularly special because it is given by other romance authors. It's deeply rewarding and not a little humbling to be honored by such a talented tribe of writers.

There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.

I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers.

Success breeds volume, and it's just amazing how many young writers, artists, and musicians there are in town.

I think most short story writers, at one time or another, over the course of several books, naturally skirt near the edge of one genre or another.