A Quote by Robert Kirkman

Well see, I'm a good enough writer that not everybody in my books talks exactly like I do. — © Robert Kirkman
Well see, I'm a good enough writer that not everybody in my books talks exactly like I do.
I want you to forget all your insecurities. I want you to reject anyone of anything that's ever made you feel like you don't belong or don't fit in or made you fell like you're not good enough or pretty enough or thin enough or can't sing well enough or dance well enough or write a song well enough or like you'll never win a Grammy or you'll never sell out Madison Square Garden, you just remember that you're a goddamn superstar and you were born this way!
The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy-the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops
There’s a writer for you,” he said. “Knows everything and at the same time he knows nothing.” [narrator]It was my first inkling that he was a writer. And while I like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person. It’s like actors, who try so pathetically not to look in mirrors. Who lean backward trying—only to see their faces in the reflecting chandeliers.
Why does the writing make us chase the writer? Why can't we leave well enough alone? Why aren't the books enough?
I was writing at a really young age, but it took me a long time to be brave enough to become a published writer, or to try to become a published writer. It's a very public way to fail. And I was kind of scared, so I started out as a ghost writer, and I wrote for other series, like Disney 'Aladdin' and 'Sweet Valley' and books like that.
To be honest, there were alot of talks about SS501. Alot of talks like how there was only Kim Hyun Joong enough in SS501, etc.. Hyunjoong-hyung, as well as our other members were very hurt
When you're the older guy, everybody talks about you. When you win, everybody talks about you. When you lose, everybody talks about you.
I'm not everybody's cup of tea. But sometimes criticism can be hurtful. Be respectful I'm a good piano player, I can sing well, I write good songs. If you don't like it, fair enough. But give me a break.
I'm not everybody's cup of tea. But sometimes criticism can be hurtful. Be respectful. I'm a good piano player, I can sing well, I write good songs. If you don't like it, fair enough. But give me a break.
Write what you care about and understand. Writers should never try to outguess the marketplace in search of a salable idea; the simple truth is that all good books will eventually find a publisher if the writer tries hard enough, and a central secret to writing a good book is to write on that people like you will enjoy.
A writer is rarely so well inspired as when he talks about himself.
One wouldn't want to say that what makes a good writer is the number of books that the writer wrote because you could write a whole number of bad books. Books that don't work, mediocre books, or there's a whole bunch of people in the pulp tradition who have done that. They just wrote... and actually they didn't write a whole bunch of books, they just wrote one book many times.
If I were a first rate writer, I wouldn't mind a bit. What does depress me is this: it is so desperately hard and so obsessive and so lonely to write that, in return for all this work, one would like a little self satisfaction. And that is never going to come, for the simple reason that I do not deserve it. I cannot be a good enough writer. You see? I call it grim. But the future looks awfully clear to me.
I really dislike when people talk about "experimental," because any good writer is experimental. As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well. I've been experimenting with these things myself in my own books.
I came first to America in 1977 at the invitation of a man who wanted to make my life story into a musical. But my agent said it was not to be and it was never done. So I went back, but I'd seen New York, and I wanted to live there. Because everybody talks to you in the street. See, nobody talks to you in England.
So when you go to a set and you just fully trust everybody, you know how hard everybody's working, you know that the people doing it are good and have such a strong vision - that's exactly my experience on 'New Girl,' and what my experience on 'Veronica Mars' was like. Everybody was just so great.
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