A Quote by Karl Wilhelm Friedrich Schlegel

How many authors are there among writers? Author means originator. — © Karl Wilhelm Friedrich Schlegel
How many authors are there among writers? Author means originator.
At first critics classified authors as Ancients, that is to say, Greek and Latin authors, and Moderns, that is to say, every post-Classical Author. Then they classified them by eras, the Augustans, the Victorians, etc., and now they classify them by decades, the writers of the '30's, '40's, etc. Very soon, it seems, they will be labeling authors, like automobiles, by the year.
The general public doesn't expect romance authors to be Harvard graduates. Which is funny, because there are actually quite a lot of us. But this disconnect means that journalists see me as an interesting story. The tricky part is making sure they understand that there are many, many talented writers who don't have 'fancy' educations.
Stealing from one author is plagiarism; from many authors, research.
There seems to be a tremendous desire among many people now to know authors and how they work, to know what's autobiographical and what isn't.
It is axiomatic among writers that no one ever sues the writer of an unsuccessful book. Just let a book go over twenty-five thousand copies and it is surprising how many people's feelings are hurt, how many screwballs think their brain children have been stolen, and how many people feel that they have been portrayed in a manner calculated to bring infamy upon them.
I definitely have an affection for detective fiction, and when I first read Dashiell Hammett's 'The Maltese Falcon,' that book and its author made an enormous impression on me as a reader and a writer, and led me to other hard-boiled American writers like Raymond Chandler and Ross McDonald, among many.
Authors have a greater right than any copyright, though it is generally unacknowledged or disregarded. They have a right to the reader's civility. There are favorable hours for reading a book, as for writing it, and to these the author has a claim. Yet many people think that when they buy a book they buy with it the right to abuse the author.
I believe that in a good collaboration, the authors bring their strengths to the story; one author's strength cancels the other author's weakness, and back and forth it goes.
What’s strange is how many beginning writers seem to think that grammar is irrelevant, or that they are somehow above or beyond this subject more fit for a schoolchild than the future author of great literature.
I think the first important thing is that usually most textbooks are not written by their authors. And so by author I mean the people who did not write them; so it's a new definition of "author."
Typically, there's this perspective among writers - and black writers: there's this idea that there is one person - and maybe beyond writers - among blacks, there is always one person who everyone should go to learn about all things black.
In the history of literature there are many great enduring works which were not published in the lifetimes of the authors. If the authors had not achieved self-affirmation while writing, how could they have continued to write?
I do identify the escape hatch through which Foucault eludes the charge that he himself is an author/authority, hence a tyrant. He establishes the category of "founder of discursivity" for the authors he likes. Slippery, perhaps, but you can see what he means.
Like many writers, I'm usually more interested in reading about authors than their actual works. We're more curious to know how they were written than what they are like to read.
It is in this matter that I fall foul of so many American writers on writing; they seem to think that writing is a confidence game by means of which the author cajoles a restless, dull-witted, shallow audience into hearing his point of view. Such an attitude is base, and can only beget base prose.
My wife and I set up the business, we were always very open about it and had a business author's name as many authors do.
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