A Quote by Jonathan Dee

One of my favorite pieces of advice about being a writer came from a very formative teacher I had as an undergraduate, named John Hersey. On our last day of class together, which was also John Hersey last day before retirement, he said, "Remember, the world doesn't need any new writers." Which at first didn't seem like great advice, but when you unpacked it, it was really that it's not enough to be confident in what you do; be conscious of bringing something to the world of readers and writers that it hasn't seen before. Something idiosyncratic.
Probably the biggest influence on my career was the late John Hersey, who, while he was at 'The New Yorker,' wrote one of the masterpieces of narrative non-fiction, 'Hiroshima.' Hersey was a teacher of mine at Yale, and a friend. He got me to see the possibility of journalism not just as a business but as an art form.
Because all writers are human beings first and writers second, my guess is that any advice for living with a writer is about the same as advice for living with a plumber or a refrigerator salesperson.
Howard University holds something called "Heart's Day," an all day ceremony in which a writer is honored. I was the recipient of this honor. It's a wonderful ceremony that Eleanor Traylor chair of English at Howard University organizes for writers. Writers from around the country came to pay tribute to my work. It was very flattering.
Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.
I've been exploring a lot of different avenues with a number of very different and very, very exciting filmmakers and writers. That's been the trip. I like to find something very, very different from the last thing I did, which might be similar to something I've done before, but as long as it's different from the last thing I did, it keeps me entertained.
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.
I think it was in Moscow last year and I got changed for training the day before we played Moscow, but the fact is they actually wanted to do John's, me and John were next to each other and they did mine by mistake. John had done them I think. So yeah it is true.
The best advice I got as a writer was also the first advice, which came from the late fantasy author and editor Karl Edward Wagner: Any agent who charges to look at your work is a crook.
I had a great AP U.S. History teacher in Pittsburgh. We still exchange Christmas cards. She was the first teacher who said I was a good writer - and I'd never heard that before. And so I remember that, and I remember that level of loving the material and really loving writing about it.
Most writers I know have switched to word processors. I haven't but I'm very curious about why people like it so much. I think it has something to do with the fact that at last writing, which has been such an old-fashioned, artisanal activity, even on a typewriter, has now entered the central domain of modern experience which is that of making copies, being involved in the world of duplicates and machine-mediated activities.
My father always said I would do something big one day.'I've got a feeling about you, John Osbourne,' he'd tell me, after he'd had a few beers.'You're either going to do something very special, or you're going to go to prison.' And he was right, my old man. I was in prison before my eighteenth birthday.
To me, nuclear weapons are the secret crisis of our time. Frankly, everyone needs to reread John Hersey's 'Hiroshima.'
I was listening to this interview with fiction writer George Saunders the other day, and he said something about how the role of a writer is to build a more detailed world. I think it applies to what Gord Downie is doing with his body of work, which is to build a more detailed world and there's something really political about that.
I remember one of the first things Helmut Newton on one of his last shoots, in 2004, said was that he couldn't believe how thin I was. He was like, "Whatever happened to women?" He also made me wear rubber nipples. It was amazing to be in a situation where you have to create but you don't feel any pressure. He had such confidence that it made things really easy. There's a natural sort of process of something coming to life, which I really liked. It was like, "We're here, and let's make you lay on a bed of nails." But it didn't seem contrived or overly thought-out. It was easy.
My Writers Guild of America card is one of my proudest possessions. I was given it after being invited to write the script for a film of my last novel, 'Me Before You,' which is being made by MGM. Whenever I look at it, I think, 'I'm a Hollywood writer!'
[My advice] will one day be found With other relics of 'a former world,' When this world shall be former, underground, Thrown topsy-turvy, twisted, crisped, and curled, Baked, fried or burnt, turned inside-out, or drowned, Like all the worlds before, which have been hurled First out of, and then back again to Chaos, The Superstratum which will overlay us.
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