A Quote by Doris Lessing

If you are a young writer today, it's very hard. — © Doris Lessing
If you are a young writer today, it's very hard.
When a young writer deliberately tries to create an effect, the result is often a little self-conscious and overdone. But why is it so hard for us to glory in what the writer has tried to do, or even in the very fact that the writer has deliberately tried to do something?
I think it's hard to make a living as a writer, but I think it's hard to work at McDonald's too.... I think the commitment is to get up everyday and say, "I'm a writer, therefore what I'm supposed to do today is write." And to do that, and to do that and to do that.
Young women today often have very little appreciation for the real battles that took place to get women where they are today in this country. I don't know how much history young women today know about those battles.
I was a very unpleasant young man. If I met the young Ingmar today I'd say, 'You're very talented and I'll try to help you, but I don't want anything else to do with you.
It's not possible to advise a young writer because every young writer is so different. You might say, 'Read,' but a writer can read too much and be paralyzed. Or, 'Don't read, don't think, just write,' and the result could be a mountain of drivel.
I think it's significantly easier to be a female writer today than in the early 1800's. That said, it's hard to imagine almost anyone who knows anything about publishing disagreeing with the statement that women writers today are often taken much less seriously than men writers. But it's hard to quantify, and even define, what being taken seriously means.
Young women should be telling stories of other young women. And if the superstar who is an amazing storyteller isn't a writer, that's totally fine, but we should get a young female writer in the room to work on that song with us.
If you're a Norwegian writer, you are not visible in the world. The door of the English language is very hard to open for a Norwegian writer.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
One of the things that I feel very blessed about is that I was given a fair amount of confidence as a young person and I constantly meet young people, even today, maybe even more today, when it is clearly not a given that they will have a reasonable amount of confidence.
young or old, good or bad, I don't think anything dies as slow and as hard as a writer.
Today there isn't a university where they don't have special courses [Jewish studies or Holocaust studies], hundreds and hundreds of universities, young people today want to know more than their elders did, much more, and therefore I am very optimistic about young people.
I'm not a boy-writer, I've never been. I wanted to be a boy-writer when I was young, and I think that held me back. I wanted to be very clever, and funny, but I'm not very clever and not terribly funny. I've finally accepted my limits, and I do what I can do.
You cannot teach creativity - how to become a good writer. But you can help a young writer discover within himself what kind of writer he would like to be.
There's a difference between someone who's 'harsh' and someone who is 'hard.' Life was hard. You lived in the South, as my grandparents did, and you had to survive. That is hard. In order to respond to that, he had to become a hard man, with very hard rules, very hard discipline for himself, very hard days, hard work, et cetera.
When you love somebody and they die young and you are young, too, it is very hard.
This site uses cookies to ensure you get the best experience. More info...
Got it!