Quotes About Writers

A lot of writers, especially crime writers, have an image that we think we're trying to keep up with. You've got to be seen as dark and slightly dangerous. But I'm not like that and I've realised that I don't need to put that on. People will buy the books whether they see a photo of you dressed in black or not.

I wanted to tell a romantic and dark side of Ottoman history that was also slightly political, saying to the previous generation of writers, 'Look, I'm interested in Ottoman things, and I'm not afraid of it, and I'm doing something creative.'

Part of my job as a presidential speechwriter (along with great writers like Jon Favreau and David Axelrod) was finding that sliver where 'presidential' and 'actually funny' overlap.

Ideally, writers and narrative designers should be included much earlier in the process, where they can be of most benefit. However, although the industry is slowly getting used to fitting narrative professionals into games development, we're still going through a bit of a 'square-peg in a round hole' phase.

Younger writers and smaller writers need to live and get by. They need to be paid. It has to be fair.

I don't like a bunch of writers sitting around, puffing smoke, they like this book, he wrote this - tell me a dirty joke, you know. It's just not my style, I've never been that kind of person.

'The Iliad' includes some snappy sports reporting, and writers ever since have been probing athletes for signifiers, for metaphor amped by grit under pressure.

There's so much control, so many executive producers, so many people looking over their shoulder, so many people trying to second-guess the boss. The space for writers and directors and actors to be creative is zilch.

I'm consistently blown away by 'Mad Men.' Having spent so much time in the writers' room, I'm cursed in that anytime I watch something, I'm always calculating what the writers are up to.

Those big-shot writers could never dig the fact that there are more salted peanuts consumed than caviar.

I'd like to imagine that "dreamoir" becomes a subgenre of nonfiction, maybe ultimately because I'd love to read many more dreamoirs by other writers - poets and memoirists especially.

Yet writers say, as in the sweetest bud The eating canter dwells, so eating love Inhabits in the finest wits of all.

Reviewing the literature on love I noticed how few writers, male or female, talk about the impact of patriarchy, the way in which male domination of women and children stands in the ways of love.

In some ways all of my fiction is like a conversation I'm having with the writers I read when I was first falling in love with books.

Bookstores never seem to know where to put me on the shelves. But I do. I love my genre and I love those writers, so I am happy to be considered a crime writer. That's what I consider myself.

I love the writers in Austin. We stick together. We all like each other and go to each other's book signings in case no one else shows up.

There can be no great literature in America until her writers have learned to trust her implicitly and love her devoutly.

Over the years, we met every kind of person imaginable. But no one makes worse first impressions than writers.

I view each world religion, including Judeo-Christianity and Islam, as a complex symbol system, a metaphysical lens through which we can see the vastness and sublimity of the universe. Knowledge of the Bible, one of the West's foundational texts, is a dangerously waning among aspiring young artists and writers. When a society becomes all-consumed in the provincial minutiae of partisan politics, all perspective is lost.

It is worth noting that the writers who have most vividly captured the feel of the California landscape have been native sons, like John Steinbeck, or long residents like Robinson Jeffers.

Sparky Harper and the Greater Miami Chamber of Commerce adored travel writers because travel writers never wrote stories about street crime, water pollution, fish kills, beach erosion, refugees, AIDS epidemics, nuclear accidents, cocaine smugglers, gun-runners, or race riots. Once in a while, a daring travel writer would mention one of these subjects in passing, but strictly in the context of a minor setback from which South Florida was pluckily rebounding.

Each week the writers strived to portray the brothers on a social bandwidth halfway between harmless rednecks and odious white trash. It was a precarious tightwire. From

So with the endorsement of the Chamber of Commerce, in 1980 Sparky Harper invited fifty travel writers from all newspapers all across North America to come to Miami during Orange Bowl Week and sail the Friendship Cruise. Of course, 1980 was the year of the Liberty City Riots and the Mariel Boatlift, so only nine travel writers showed up, several of them carrying guns for protection.

The writers had decided that Buck Nance's brothers should refer to him as 'Captain Cock' when quarreling on the show, and inevitably the sleeveless t-shirt bearing that nickname became the top seller of all Bayou Brethren merchandise.