The existence of the writer is an argument against the existence of the soul, for the soul has obviously taken flight from the real ego, but not improved itself, only become a writer.
The fact is, unlike a lot of writers, I credit the people who help me. A lot of writers out there have a ton of researchers and they don't get credited in the book.
I thought I was going to be a horror story writer. My influences were horror writers, like Rich Matheson, Ray Bradbury and Bram Stoker.
I don't buy into the idea that an Irish writer should write about Ireland, or a gay writer should write about being gay.
There are professional negotiators working for the writers and the actors, but basically you've got the writers and actors negotiating against businessmen. That's why you get rhetoric.
As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.
Writers such as Richard Powers and the late David Foster Wallace have shown the path to a newer generation of writers for whom all national boundaries are quaint curiosities.
The most annoying and full-of-crap thing a writer says is, 'I write only for myself, I don't care if anyone reads it.' A writer without a reader doesn't exist.
Diverting the internal traffic between the Writer as Angel of Light and the Writer as Hustler is that scribbling child in a grown-up body wondering if anybody is listening.
I think that each of us inhabits a private world that others cannot see. The only difference between the writer and the reader is that the writer is able to dramatise that private world.
I have so many favorite writers, it's very hard to select a few... of classic writers, I have always admired Emily Dickinson and Henry David Thoreau.
The reader knows the writer better than he knows himself; but the writer's physical presence is light from a star that has moved on.
Some stories or passages are more difficult and demand more fussing with than others, but, in general, I'm a two-draft writer rather than a six-draft writer, or whatever.
I used to object to being called an Indian writer, and would always say I was a writer who happened to be an Indian, and who happened to write about Indians.
I feel as if I'm clearly part of a trend among writers who take themselves seriously - and I confess to taking myself as seriously as the next writer.
I'm sort lucky in that for me, I'm a writer now. I started as an actor but I'm a writer and so things like 'Wilfred' and shows like that are where I escape to.
You never know if you're a writer. You can't trust it. If you woke up and said, 'I'm a writer,' it would be gone. You wouldn't see anything for miles - even the dust would be running away.
There's a way in which filmmaking is a director's medium and television is a writer's medium, so even as TV gets more cinematic, it's still guided by the writer.
And you can tell the writers who do it - Robert Stone, for example, who with each new novel is doing something new. I appreciate that in other writers.
It is difficult to call myself a writer, even when I stand at a podium to receive a prize, I feel uncomfortable calling myself a writer—I am merely a word criminal.
I always wanted to be a writer, and I always wrote something – stories, poetry, articles, newsletters, letters. Most writers can't help themselves! It's a compulsion.
