I can well imagine that certain writers, even writers that we'd consider today very great writers, may not necessarily have tested highly on IQ just because of their numerical skills, or maybe they may not be very good at memory, and are not particularly good at these kinds of tests.
All great writers have, of course, an atmosphere in which they seem most at their ease and at their best; a mood of the general mind which they interpret and indeed almost discover, so that we come to read them rather for that than for any story or character or scene of seperate excellence.
People always seek to compare. They can take the new, but only if it is somehow connected to the familiar. We need that in our lives, the mix of the new and the old. But of course I'm flattered about the comparison with Old man and the sea. Hemingway is a great writer.
When I was in law school I was taught that the great writers were people like [Oliver Wendell] Holmes Jr. and [Benjamin N.] Cardozo. But you go back and read their prose and it's sort of perfumed and very ornate and show-offy. And they're constantly striving for these abstractions that seem archaic nowadays.
As a songwriter, I was influenced by David Bowie - a great writer. A class above everybody in so many ways. Lennon and McCartney, of course. Class stuff. David Cousins was my favorite lyricist.
The writer who cannot sometimes throw away a thought about which another man would have written dissertations, without worry whether or not the reader will find it, will never become a great writer.
I have never thought of myself as a good writer. Anyone who wants reassurance of that should read one of my first drafts. But I'm one of the world's great rewriters.
A man can write one book that can be great, but this doesn't make him a great writer-just the writer of a great book. . . I think a writer has to extend very widely, as well as plunge very deep, to be a great novelist.
I'm not a great writer. I'm a great rewriter.
Deirdre Maddon has an extraordinary, almost celestial way of telling a story. There are so many great writers now - although I also want to go back and read all of Dickens again.
I'm just in profound gratitude that we get to go back and work on a show that we love, with amazing actors and great writers, and be a part of the Marvel universe. As with all of the characters in Jessica Jones, Trish has an alias.
On a court full of great writers, I shouldn't say full of - there have been some bad writers on the court over the years.
Farber had a huge effect on me as a writer. I don't mean I write like him. Farber is, first of all, a great stylist, a great writer. Anyone can read Manny Farber's film criticism, whether that person is a novelist, a poet, another critic, a historian, and learn a lot about writing by reading him.
The measure of a great writer is not how many weeks his books spend on the best-seller lists, but how many years his books remain in print after his death.
I am convinced that anyone can be a great writer . . . if he can only . . . tell the naked truth about himself and other people. That, a little technique with words and the willingness to bare heart, soul and body are really all it takes.
I don't really think that writers, even great writers, are prophets, or sages, or Messiah-like figures; writing is a lonely, sedentary occupation and a touch of megalomania can be comforting around five on a November afternoon when you haven't seen anybody all day.
Insofar as we, critics of the black tradition, master our craft, we serve both to preserve our own traditions and to shape their direction. All great writers demand great critics.
Johnson is wise, Boswell foolish; Johnson warns and abstains, Boswell plunges; Johnson is rather a great man writing than a greatwriter, Boswell is a great writer and an ordinary man; and they are two of a kind, abysmal melancholics and compulsive socializers, afraid of solitude and afraid of death and dissolution, victims of themselves, meant for each other, needing each other, needing evidence and arguments (Boswell is a lawyer, Johnson magisterially dictates to him some of his briefs), making beautiful models of rational discourse out of the useful substance of all they know.
On one plane, the very great writers and the popular romancers of the lower order always meet. They use all of themselves, helplessly, unselectively. They are above the primness and good taste of declining to give themselves away.
The road to Hell is paved with unbought stuffed dogs.
Great writers know what to cut out. It's the same in life. Clear ambitions. Clear relationships. This is the stuff of good story.
When you got source material, whether it's a play or a book - a great writer often appreciates being adapted and developed. It's like when you go see a production of a great play and they are always different. There is always room for interpretation.
I'm a strong believer that you have to have an equal opportunity to fail and to try things that are hard. I always tell my students, "Don't just take things that are easy for you. If you're really good at math, don't take just math. Take classes that make you write. If you're a really great writer, but bad at math, take math and make yourself work your way through it."
If you really think back to the great writers, there's a lot of happiness in Tolstoy; there's a lot of love, there's childbirth, and there's dances. And likewise in Shakespeare and even Cervantes, there's a lot of celebrations of the positive manifestations of life. Technically, I found it harder to do, so that's kind of a good late-life challenge - without getting sentimental or chirpy.
I could never write about the sort of people John Cheever or John Updike or even Margaret Atwood write about. I don't mean I couldn't write as well as they do, which of course I couldn't; they're great writers, and I'm no writer at all. But I couldn't even write badly about normal, neurotic people. I don't know that world from the inside. That's just not my orientation.
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