In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like, but he must never, never be unfaithful to them.
Mediocrity is now, as formerly, dangerous, commonly fatal, to the poet; but among even the successful writers of prose, those who rise sensibly above it are the very rarest exceptions.
The writer probably knows what he meant when he wrote a book, but he should immediately forget what he meant when he's written it.
The greatest pleasure is not - say - sex or geometry. It is just understanding. And if you can get people to understand their own humanity - well, that's the job of the writer.
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.
From being a writer of plays, it was not that surprising that somebody thought of giving me a job as an actor. After I played one part, others came along.
I'm a very lucky man. It's a beautiful thing for a writer, to see people allowing your words to enter their own unconscious and their souls.
Not everybody has a talent for painting, or for the piano, or for dance. But we can write our way into the artist's head and into his problems and solutions. Or we can go there with another writer.
If a philosophical writer cannot be followed, the difficulty of his subject can be placed only in mitigation of his offense, not in condonation of it. There are too many expert witnesses on the other side.
Readers must be given room to bring their own emotions to a piece so crammed with emotional content; the writer must tenaciously resist explaining why the material is so moving.
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
That's the thing about fiction writers: what seems alarming or particular or perverse about them is simply the shape of their brain - they cannot be otherwise.
We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.
There is no living African writer who has not had to, or will not have to, contend with Achebe's work. We are either resisting him - stylistically, politically, or culturally - or we are writing toward him.
A non-fiction writer pretty much has the shape of the figure in front of him or her and goes about refining it. A work of non-fiction is not as difficult to write as a work of fiction, but it's not as satisfying in the end.
I'm a full-time writer, which means I have the entire day to get my work done. But that can also be bad, because that means I have the entire day to get in my way.
There's a danger in romanticizing what it means to be a writer. Because what it really means is hard, hard work. It means tearing your hair out. Feeling like your head is about to explode.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
Special-interest magazines are dangerous places for writers to start out in because the writing quickly falls into a routine and people are likely to find themselves artistically exhausted when they want to work on something of their own.
I have a number of writers I work with regularly. I write an outline for a book. The outlines are very specific about what each scene is supposed to accomplish.
