There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers.
We writers – and especially writers for children, but all writers – have an obligation to our readers: it's the obligation to write true things, especially important when we are creating tales of people who do not exist in places that never were – to understand that truth is not in what happens but what it tells us about who we are. Fiction is the lie that tells the truth, after all.
I have a total responsibility to the reader. The reader has to trust me and never feel betrayed. There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers. And it's appropriate, because the writer is getting paid and the reader isn't.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
What helps writers, and ultimately, obviously, helps the actors - who should serve the words that the writer puts on the page - is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.
I think all writers are mainly writing for themselves because I believe that most writers are writing based on a need to write. But at the same time, I feel that writers are, of course, writing for their readers, too.
We're trying to make something that lasts in language and there's no question that many fiction writers began as poets and it's hard for me to think of any good fiction writers who don't also read poetry.
When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.
I try really hard to ask people to take a look at their bookshelves. Are there female writers on it? Gay writers? Writers of color? There should be.
I've always loved science fiction. I think the smartest writers are science fiction writers dealing with major things.
Whatever solidarity I have established with other writers individually, it is usually organized around books. We connected as readers, as it were, not writers.
Let's stop reflexively comparing Chinese writers to Chinese writers, Indian writers to Indian writers, black writers to black writers. Let's focus on the writing itself: the characters, the language, the narrative style.
Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.
Lawyers, doctors, plumbers, they all made the money. Writers? Writers starved. Writers suicided. Writers went mad.
here are the top three global resources getting scarcer in the twenty-first century: ozone layer, rain forest, people eager to read the fiction of others. That's right, folks. For the first time in I believe written history, there are far more fiction writers on earth than fiction readers.
Writers, at least writers of fiction, are always full of anxiety and worry.