Talking to all those great writers and artists for the magazine was a form of graduate school for me.
I think poets are much more dramatic, more theatrical than fiction writers.
I write by hand in my notebooks and number the drafts, so I know how crazy I can get with this. Some writers, like my teacher Marilynne Robinson, she only writes one draft. I've thought about this a lot; I think it's because she writes it 80 times in her head before it comes out.
Writers have opinions - that, in part, is why they write. Therefore they have strong likes and dislikes.
I know a lot of shows are like, 'Here's the pages,' right before they start filming. I'd have a heart attack. The anxiety would be way too much for me. I don't have as strong a backbone as those other show writers.
My books have been published all over Europe. They read me there, and I want to read them back. I also spend a lot of time in Europe, often meeting writers, and I'm sick of apologizing for the embarrassing shortage of translations in America.
Reading and writing, like everything else, improve with practice. And, of course, if there are no young readers and writers, there will shortly be no older ones. Literacy will be dead, and democracy - which many believe goes hand in hand with it - will be dead as well.
I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.
There is a minority of gifted, willfuf people who are determined to live their own lives to the end, and writers belong in this class.
I'm a playwright by trade, and in theater, writers have complete control over everything. Nobody can change a word without your permission. I've had a couple screenwriting experiences that weren't terrible, but they were typical, where executives came in and gave you sometimes good notes and sometimes horrible notes - but they wanted to change the movie that everybody had agreed to make. After a couple of times, it's like, "Why are we doing this?" The story is not going to turn out very good when 13 people are writing it together.
In this way, writers are indeed, as Henry Miller suggested, traitors to the human race. We may turn a light on inequity, injustice, and oppression from time to time, but we regularly kill what we love in insidious fashion.
Even writers need relief from words.
Prague is not, strictly speaking, travel writing but it is, among other things, an excellent example of what travel writing is becoming, if indeed it hasn't already done so. . . . People are no longer so easily satisfied by the mere travel impressions of some outsider much like themselves. Instead they gravitate towards writers who actually have lived not simply in, but inside, a location for an extended period, as one lives inside one's clothes.
Most writers are not quick-witted when they talk. Novelists, in particular, drag themselves around in society like gut-shot bears.
It's something that's difficult to explain but I think all writers work this way to some extent, whether we're aware of it or not. For me, writing has little to do with thinking. I don't want to control the narrative. I listen to the rhythm of the words and dialogue and try to give the characters the space in which to say and do what they want without intervening too much.
I'm not a Mexican writer, but I think everything that happens in Mexico affects the Mexican writers I know, in their sense of being human and of being Mexican, even if they don't in any explicit way address these issues in their writing.
Writers seem to me to be people who need to retire from social life and do a lot of thinking about what's happened - almost to calm themselves.
Set designers, costume designers, actors, writers, music, that's what is beautiful.
Real writers are those who want to write, need to write, have to write.
I think writers are prone to hyperbole sometimes.