I know that one is able to win people far more by the spoken that by the written word, and that every great movement on this globe owes its rise to the great speakers and not to the great writers.
There's lots of things that can't make it in the world that are worth making. There are lots of great artists who never make it, there are lots of great writers who don't get published - is it still worthwhile? Aren't we glad people are still doing it?
Any good writer is going to be well-received and is going to not be well-received; that's how you know you're a great writer.
The studios insisted that only stars could make movies successful. And that was the real disappointment of the time. You'd see great writer-directors in the '90s becoming part of a system where financiers and movie stars could change the material. I came along just before all that happened.
I sometimes imagine a great writer as a sort of God-surrogate: the writer is doing his or her human-best to emulate what God might think of is, if God was inclined to observe some human beings and present their activities in the form of a narrative.
I mean, the problem is, I think I'm a great writer.
Jesse Joyce is a great writer.
I really enjoy English and poetry and writing classes. You do get writer's block when you're writing music, and having inspiration from other great writers is great. You have to look for inspiration because sometimes music isn't the only thing that you can look at.
I did do a presentation pilot with Jesse Eisenberg and he's wonderful. He's such a great writer. He directed me and he wrote these wonderful scripts and we're waiting to hear if marketers and advertisers think that an audience wants to look at a bad mom and her 10-year-old son in a show.
I think Jesse Eisenberg is such a great writer. He was a great director and really tough.
How many really great writers are there who are totally non-political? You can hear the French Revolution in the poetry of [Percy Bysshe] Shelly and [John] Wordsworth; you can sense the vast inequalities of Tsarist Russia in [Anton] Chekhov and [Lev] Tolstoy.
It is fascinating to me that when the lists of the great writers are trotted out year after year, you often find lists without a single woman mentioned.
Every great writer is a writer of history, let him treat on almost what subject he may.
The author with the greatest influence on me is my friend Stephen Harrigan, who critiques everything I write before I even bother to show it to my agent or editor. He's a truly great writer - author of Gates of the Alamo and other books you might know of, and his instincts about what's working in a story, and what's not, are just about perfect. My books would be very different without his influence.
It's hard not to be enthusiastic when you like what you're doing and I love what I do. I love writing stories, I love coming up with ideas for new projects and I love the people I work with, because I work with great writers and artists and directors and actors.
[Doctor Cukrowicz] was basically a role where you have two diva actresses - Maggie Smith and Natasha Richardson - and my role was to say, "And then what happened? Tell me more." But I wanted to do it was because a) it was Tennessee Williams, a great writer, and b) it was Richard Eyre, an amazing director. And to work with those two amazing women!
Great writers are not those who tell us we shouldn’t play with fire, but those who make our fingers burn.
Great writers leave us not just their works, but a way of looking at things.
I haven't stuck to any formula. Most great writers stick to the same style, but I wanted to be more various
From Finding the Center to Reading and Writing: A Personal Account, the story remains the same: in a journey unique to myself, I left my worthless home, with its small people, and I sailed against the tides of chance and history looking for a better place -- for the center -- where I suffered greatly and made myself into a great writer.
The road to hell is paved with leeks and potatoes
But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.
My family is involved and my wife Brenda is a great, great writer. She helps me with the writing of everything and also sings with me. I owe a lot to Brenda.
I look for strong people. I don't like people who'll say yes to everything I might bring up. I want people who can argue and disagree and have a point of view that's reflected in the magazine. My dad believed in the cult of personality. He brought great writers and columnists to The Standard.
I wrote Baghdad Central right after translating a great work by Ibrahim al-Koni, who is sort of a master of Arab fiction. In conversations with him I realized that translations have been my MFA program. If I have learned how to write fiction it's by working with great writers and getting them to explain their craft to me so that I can do it in English. That's how I've figured it out.
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