Quotes About Writer

It seems natural to me that as a writer, you should have some kind of, you know, there should be some kind of projection that you actually have influenced people who are closest to you.

I've always been a very prolific writer.

Irene Nemirovsky was a prolific writer punctiliously devoted to her craft.

When people tell me I'm a prolific writer, it's a nice thing to say. But I think to myself, 'Yeah, but I don't do anything else.'

I spend a lot of time thinking, if not daydreaming. People think of me as a genre writer, and a genre writer is supposed to be prolific. Since that's how people perceive me, they have to say I'm prolific. But I don't find that either complimentary or accurate.

I'm not really a plot writer - I'm more interested in the characters and sort of small events that propel the story forward.

I don't believe a poet has a better hold on truth or morality than a fiction writer has. And I don't think a fiction writer has anything over a journalist. It's all about the good word, properly inserted.

Alan Moore is a prophetic writer.

In Israel, the role of the writer is dictated by the language in which you write. Writers see themselves as cultural prophets.

Prose is admittedly an art rooted in social intercourse, and a fiction writer is faster to find a common denominator with his cell mates than a poet is.

My Writers Guild of America card is one of my proudest possessions. I was given it after being invited to write the script for a film of my last novel, 'Me Before You,' which is being made by MGM. Whenever I look at it, I think, 'I'm a Hollywood writer!'

I'm a long-time fan of Rob Long, and his books are hugely re-readable, detailing the ins and outs of being a Hollywood comedy writer with a past success but with everything to prove.

Four years earlier I had been selected, with Kay Boyle, the writer, and a number of others, to go to Cambodia and come back and prove that there were no sanctuaries in that country.

It was his misfortune to be respected as a writer by almost everyone except those with whom he most consorted.

Understand now, I'm purely a fiction writer and do not profess to be an earnest student of political science, but I believe strongly that such a law as one prohibiting liquor is foolish, and all the writers, keenly interested in human welfare whom I know, laugh at the prohibition law.

Then you don't think the artist works from his intelligence? No. He goes on improving, if he can, what he imitates in the way of style, and choosing from his own interpretation of the things around him what constitutes material. But after all every writer writes because it's his mode of living.

Fiction operates through the senses, and I think one reason that people find it so difficult to write stories is that they forget how much time and patience is required to convince through the senses. No reader who doesn't actually experience, who isn't made to feel, the story is going to believe anything the fiction writer merely tells him. The first and most obvious characteristic of fiction is that it deals with reality through what can be seen, heard, smelt, tasted, and touched.

The isolated imagination is easily corrupted by theory, but the writer inside his community seldom has such a problem.

For the fiction writer himself the whole story is the meaning, because it is an experience, not an abstraction.

It seems that the fiction writer has a revolting attachment to the poor, for even when he writes about the rich, he is more concerned with what they lack than with what they have.

The sorry religious novel comes about when the writer supposes that because of his belief, he is somehow dispensed from the obligation to penetrate concrete reality. He will think that the eyes of the Church or of the Bible or of his particular theology have already done the seeing for him, and that his business is to rearrange this essential vision into satisfying patterns, getting himself as little dirty in the process as possible.

The writer has no rights at all except those he forges for himself inside his own work. We have become so flooded with sorry fiction based on unearned liberties, or on the notion that fiction must represent the typical, that in the public mind the deeper kinds of realism are less and less understandable.

The fiction writer has to engage in a continual examination of conscience. He has to be aware of the freak in himself.

The writer who position is Christian, and probably also the writer whose position is not, will begin to wonder at this point if there could not be some ugly correlation between our unparalleled prosperity and the stridency of these demands for a literature that shows us the joy of life. He may at least be permitted to ask if these screams for joy would be quite so piercing if joy were really more abundant in our prosperous society.