I could never be the kind of writer who went to the set of the movie and fussed and fretted about, 'Oh, that dialogue's wrong,' or 'That character doesn't look like that.' That would be insufferable.
When a person responds emotionally to intellectual things, or emotionally only to traditional emotional things - I find that an interesting break between myself and some other writers and fans.
To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sym...
There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always kno...
Something mystical happens to every writer who goes to the Masters for the first time, some sort of emotional experience that results in a search party having to be sent out to recover his typewriter from a clump of azaleas.
I think what happens to young writers is that they use up every life experience that they have had up to that point for their first novel. Then you have to come up with something for the second novel, but you really don't have anything to say.
The most important training, though, is to experience life as a writer, questioning everything, inventing multiple explanations for everything. If you do that, all the other things will come; if you don't, there's no hope for you.
As the writer, you're always a presence in the song. If you get close to what human beings are like, you're writing about common experience. We all do much the same things, so if you nail somebody, then you've also nailed yourself.
Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to...
I think that everything you do helps you to write if you're a writer. Adversity and success both contribute largely to making you what you are. If you don't experience either one of those, you're being deprived of something.
The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral par...
It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.
There is no way that writers can be tamed and rendered civilized or even cured. The only solution known to science is to provide the patient with an isolation room, where he can endure the acute stages in private and where food can be poked in to him...
The acting is something that will always be a part of my life, but the writing gives me a lot more creative freedom. You're a pawn in somebody else's chess game, whereas as a writer and as a director, you get to call the shots. And that's very thrill...
I've always said I'm more influenced in what I do by artists, and how they work, how they think, and the freedom they're given to work and think, than I really am by other writers.
I don't think I've had a very interesting life, and I feel that is a great liberation. That gives me great freedom as a fiction writer. Nothing that happened holds any special tyranny over me.
The more freedom I allow myself as a writer to wander, become lost and go into uncertain territory - and I am always trying to go to the more awkward place, the more difficult place - the more frightening it is, because I have no plan.
I felt a failure because I couldn't sustain myself from what I earned from my writing. My day jobs were what mattered, and it was hard to even get those because universities wouldn't hire me as a real writer.
I work a lot in the summers. My family goes to Maine, where we have a little house. My wife's a writer, too, and we can write for six hours a day and then play with the kids.
I used to feel that I spent too much of my time in my pajamas doing nothing, and I'd think 'in the time that I don't spend writing, I could raise a family of five.' In a lot of ways, being a writer is lonely and alienating.
I came from a lower-middle-class postwar family in a time of austerity and retrenchment, with no one in the family who was in any way artistic or a potential mentor to a budding writer, and yet this is what I became.
