Quotes About Writer

Truth be told, I didn't want to be on T.V. I was going to be a writer or producer or a director, and at the end of my sophomore year, my department chairman put me up for a job doing weekend weather in Syracuse, New York.

I've worked in government. I've worked in competitive New York litigation, I've worked as a writer and reporte..

There's no doubt that New York held its temptations for any writer - it still does.

I don't think the isolation of the American writer is a tradition; it's more that, geographically, he just is isolated, unless he happens to live in New York City. But I don't suppose there's a small town around the country that doesn't have a writer.

I always knew I was a writer. And I always thought to myself, 'Well, why not me?' Someone has to be on the best-seller list, 'Why not me?' Someone has to write for the 'New Yorker,' 'Why not me?' And I didn't really get much positive reinforcement as a kid, so I thought, 'Well let me show you what I can do.'

I wanted to be a literary writer, so I wrote story after story and sent them to 'The New Yorker.'

One identity is as a television writer, which is very classically Southern California, but another of my personae is as a New Yorker cartoonist.

A workshop is a way of renting an audience, and making sure you're communicating what you think you're communicating. It's so easy as a young writer to think you're been very clear when in fact you haven't.

Young adult fiction is getting more popular among adults because the writer is trying hard all the time to maintain the reader's interest.

I was a visual artist primarily and a writer, even from a very young age.

I'm not someone who from a young age imagined myself being a writer or had dreams of being a novelist or anything like that, but I was always very driven by ideas and by values, and that is the reason I got into journalism.

When I first read Anne Frank's 'Diary of a Young Girl,' I saw for the first time that a girl could be a writer and that it had something to do with survival and with ethics and fighting against evil. I admired her, though her diary remained terrifying and mysterious to me. She was a character in a real fairy tale - fairy tales are brutal.

I knew from the time I was a young girl that I was destined to be a writer. I'm incredibly stubborn. The more someone tells me I can't do something, the harder I work to prove them wrong. My father's nickname for me when I was growing up was 'Hardhead.'

I first read Sigmund Freud's 'Beyond the Pleasure Principle' as a young girl, and it helped me to understand that there are thousands of possible ways to interpret our experience, that everything has a meaning, and that interpretation is the key to reality. This was the first step to becoming a writer.

Medicine involves dealing with people who are going through changes and cycles, often people trapped in bodies that are going out from under them. Spending time with them lets you think their way, gives you insights as a writer.

We're all born storytellers. It's part of the species. But, more specifically, I suppose a particular combination of sensitivity and trauma made me a writer: an essential disquiet with reality, which required exploration through portrayal.

When I left for college, I put Miami behind me and tried to have a life of the mind. I got a graduate degree. I traveled. I even married a fellow writer, whose only real estate was a dingy one-bedroom apartment in Paris, where we lived.

I have a romantic conception of the writer's life, and the sort of writer's life that I admire is probably a childless life, possibly a marriageless life, certainly a travelling life - I'm in awe of how much D.H. Lawrence managed to get around. But that's never been something I'm capable of doing.

I write about real life as it is lived by the young American Muslim women that I've had the pleasure of meeting throughout the course of my travels as a writer and being able to speak in different places and meet different people at signings and things.

Television is a very writer-driven business, and it's one of the few parts of entertainment where writers are treated with respect, only because they need you. If they didn't have to treat you with respect, they would be happy to dismiss you.

The writer in movies is about as low as you can get and you really are a hired hand. You are paid a lot of money to be treated like dirt.

It is a new trend, and it is here to stay. Unfortunately, if you cannot write punch dialogues, you are not treated as a dialogue writer.

As a writer, you live in permanent self-doubt; you're on permanent trial.

I pay lots of homages. I wanted to pay tribute to a leading Iranian writer, Gholam - Hossein Sa'edi, who is buried in Paris - he is an Iranian Arthur Miller. He is of a similar stature, and his work is similar to that of Arthur Miller.