A Quote by James Patterson

I'm not a writer's writer. I'm not a craftsman. I could be, and that would be a one-book-a-year operation. — © James Patterson
I'm not a writer's writer. I'm not a craftsman. I could be, and that would be a one-book-a-year operation.
I'm a fifty-three-year-old writer who can remember being a ten-year-old writer and who expects someday to be an eighty-year-old writer.
Think of a book special to you, and how much bleaker and poorer your life would be if that one writer had not existed - if that one writer had not, a hundred times or a thousand, made the choice to write. You're going to be that one writer one day for somebody you may never meet. Nobody can write that book you're going to write - that book that will light up and change up a life - but you.
One of the most useful parts of my education as a writer was the practice of reading a writer straight through - every book the writer published, in chronological order, to see how the writer changed over time, and to see how the writer's idea of his or her project changed over time, and to see all the writer tried and accomplished or failed to accomplish.
I'm a 48-year-old writer who can remember being a 10-year-old writer and who expects someday to be an 80-year-old writer. I'm also comfortably asocial -- a hermit in the middle of Los Angeles -- a pessimist if I'm not careful, a feminist, a Black, a former Baptist, an oil-and-water combination of ambition, laziness, insecurity, certainty, and drive.
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.
The only difference between a good writer who publishes a book and a good writer who doesn't is that the writer who publishes actually finished her book.
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 would hate to be that person who is, you know, the mystery writer who has to deliver a book every year to publisher X.
When I came into consciousness as a writer when I was in my early 20s, I just assumed that a writer did - a poet writer did everything all at once. I would write poetry, and while writing poetry I would also write work in the world - if I could get into the world.
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.
I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.
I'm a writer because I love reading. I love the conversation between a reader and a writer, and that it all takes place in a book-sort of a neutral ground. A writer puts down the words, and a reader interprets the words, and every reader will read a book differently. I love that.
Any adjective you put before the noun 'writer' is going to be limiting in some way. Whether it's feminist writer, Jewish writer, Russian writer, or whatever.
Writing is so hard. Why would you be a writer if you weren't really good at it? If you could be anything else, why would you be a writer?
By the time I get through writing a score, I know the book better than the book writer does, because I've examined every word, and questioned the book writer on every word.
When I was young, I wanted to be a dramatic writer, a writer of tragedy. Nothing would've pleased me more than if I could have written like Eugene O'Neil or Tennessee Williams.
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