I have an obligation as a writer to tell a story as interestingly as possible, but with integrity and not inserting false drama... I'm looking to be subtle, but being a wordsmith does not interest me - I want to communicate.
I don't have a normal job, so I really appreciate having friends who are writers and artists. It's fun to have a group of people you can call in the middle of the day to go for a hike.
The Best Thing I love about being a writer and a poet is, I can make up my own words to fit my imagination.
I really just sat down to write. I mean, I did what most writers do when something happens that's overwhelming, fascinating, moving, all of that.
In comparing various authors with one another, I have discovered that some of the gravest and latest writers have transcribed, word for word, from former works, without making acknowledgment.
The impossibility of a sequel ever recapturing everything - or anything - about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.
Some writers would be kinder than others, I'm sure. Hopefully they might describe my techniques as a mixture of tried and tested formulas - if it aint broke don't fix it - and unexpected twists.
I didn't want to do comedy again. It is way harder when you are doing comedy. You can't just concentrate on the character and the plot. In comedy, the writers, instead of obsessing about character and plot, obsess about the jokes.
I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.
Japan, Germany, and India seem to me to have serious writers, readers, and book buyers, but the Netherlands has struck me as the most robust literary culture in the world.
Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.
I think every writer of detective fiction writing today has been influenced by Mr. Parker. I'm of a generation that followed Robert Parker, and it was impossible to read the genre and not be influenced by him.
Our culture places a very high value on storytelling, and the more that Catholic writers are able to master that craft, the more they can speak to the culture, the more powerful their stories will be.
Christopher Hitchens was a writer and an orator with a matchless style, commanding a vocabulary and a range of literary and historical allusion far wider than anybody I know.
Two hours of writing fiction leaves this writer completely drained. For those two hours he has been in a different place with totally different people.
Be true to the writer within you; tell the story you're dying to tell in exactly the way you wish to tell it, and don't trust anyone who tries to sway you otherwise.
I had neither expert aid nor advice. I studied no courses in writing; until a year or so ago, I never read a book by anybody advising writers how to write.
When I see things in the world that leap out at me, I want to make use of them in fiction. Maybe every writer does that. It just depends on what you claim or appropriate as yours.
I've read everything that Isaac Asimov ever wrote, for a start. I'm massively into my fantasy genre, anything by R.A. Salvatore or David Gemmell. I've read every single book those writers have written.
I wrote my book 'The Amorous Busboy Of Decatur Avenue' completely like a writer does, writing it down, re-writing everything. But in my stand-up, I improvise initially, never questioning it too closely.
Authors always feel in danger of being abandoned by loved ones. This is a potent fear. Yet it's as inevitable as writer's cramp when we presume to write words for others to read.
