You're often looking at writing from writers who, for the most part, are working in forms that traditionally fit into other genres. But sometimes, in the midst of their better-known stuff, there's this wayward thing, and because it's wayward it isn't considered representative of their work, so it falls through the cracks.
I'd like to imagine that "dreamoir" becomes a subgenre of nonfiction, maybe ultimately because I'd love to read many more dreamoirs by other writers - poets and memoirists especially.
The dilemma felt by science fiction writers will be perceived in other creative endeavors.
I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.
Out of respect to writers, you have to read the book in the way in which the author visualised it going out into the world.
I really like older writers, perhaps because they take me out of my element. I don't have a great deal of interest in reading a fictionalized present as it's pretty insane as it is.
It's only recently that I've come to understand that writers are not marginal to our society, that they, in fact, do all our thinking for us, that we are writing myths and our myths are believed, and that old myths are believed until someone writes a new one.
There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do
Writers sometimes are paid a great deal of money, but much more frequently they're not paid or are paid only a little bit.
I wonder why people so commonly suppose that if two individuals are both writers they must therefore be hugely congenial.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
We should write, above all, because we are writers, whether we call ourselves that or not.
The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.
Real writers write because they love to write. They don't write for public acclaim.
What I take from writers I like is their economy - the ability to use language to very effective ends.
It is deeply unfair to task writers of color with unique responsibilities that we don't assign to all writers.
Women writers should write a lot if they want to write. Take the English women, for example. What amazing workers.
Too many of these writers in the music papers, they are misunderstanding everything. The disco sound is not art or anything so serious.
Scotland consistently produces world-class writers.
Unemployed writers have muses. Employed writers just sweat.