The interesting thing about fiction from a writer's standpoint is that the characters come to life within you. And yet who are they and where are they? They seem to have as much or more vitality and complexity as the people around you.
I just can't get used to the idea of being somebody unreal in people's minds. I can't live my life like that. And it's just anathema to being a writer. It's not healthy.
I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.
I love 'The Stand;' I read it when I was a kid - it was one of my favorite books when I was growing up. I love Stephen King; I think he's a remarkable writer.
When I was in college, I was the editor of the literary magazine and insisted neither the editors nor the writers be specifically identified-only our student numbers appeared on the title page. I love that idea and still do.
I love Dave Eggers. I hate Dave Eggers. If I could become any other living writer, I would answer faster than anyone else in the room, 'Dave Eggers.'
I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.
It wasn't until I was an adult reader that I began to fathom the influence of fairy tales on writers I was in love with over the years, from Louisa May Alcott to Bernard Malamud to John Cheever to Anne Frank to Joy Williams.
No writer in our time has been more isolated than Kafka, and yet few have achieved communication as well as he did.
Even the top motivational speakers and inspirational writers are constantly reading books from other self-improvement people, because they truly understand that knowledge has no limit to it.
About the gnostic writers themselves and the setting in which they lived we know little, although gnostic Christians were influential enough to be denounced at length.
He has always admired writers who each day begin a journey towards the unknown and who nevertheless spend all their time sitting in a room".
I can only assume that your editorial writer tripped over the First Amendment and thought it was the office cat.
I was working for Time-Life Books from 1962 to 1970, as a staff writer, and after that, I was a journalist. Eventually, I became an editor at 'The Saturday Review' and 'Horizon.'
The talk shows in the States want celebrities, not authors. In France, it is different; writers are called upon to comment on everything. They have a very public role there.
Just finished [Capitalist in North Korea]—fascinating! What an experience. Wow." —Justin Rohrlich, Emmy Award Winner, Head Writer, Minyanville's World In Review
My idea is always to reach my generation. The wise writer writes for the youth of his own generation, the critics of the next, and the schoolmasters of ever afterward.
The best fame is a writer's fame. It's enough to get a table at a good restaurant, but not enough to get you interrupted when you eat.
Writers whose thoughts are expressed with clarity and precision are assumed by readers to be superficial. Where the meaning is obscured, then readers give more attention and consider the fruit of their labour more valuable
Everywhere I go, I am asked if I think university stifles writers. My opinion is that it doesn't stifle enough of them.
It seems to me that there are two kinds of trickery: the 'fronts' people assume before one another's eyes, and the 'front' a writer puts on the face of reality.
