“I think even if I did try to write something that had nothing to do with women or race, which are two pretty broad topics, I don’t know how I would do that. I don’t think there’s a way that I could write a buddy cop drama, or something really far from anything I’ve written, that didn’t have pieces of race and gender. Those are parts of the world we live in, and they are things I think about. It all comes into the voice of your writing, and you can’t write about someone else’s voice. You can only write in your own.”

— Celeste Ng

On why she revisits certain themes in “AN INTERVIEW WITH CELESTE NG, THE 2018 INDEPENDENT BOOKSTORE DAY AMBASSADOR” https://bookriot.com/2018/04/27/celeste-ng-interview/ in BookRiot (2018 Apr 27)

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Celeste Ng 17

American novelist 1980

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“Everything I do is because of writing. If I go for a walk, it’s because I’m thinking of writing. I go look at flowers, I go look at the garden, I go look at a museum, but it’s all coming back to writing. I don’t really do anything that isn’t about writing, and I don’t really know who I am if I’m not thinking about writing.”

Jamaica Kincaid (1949) Antiguan-American novelist, essayist, gardener, and gardening writer

On her obsession with writing in “Jamaica Kincaid: Does Truth Have a Tone?” https://www.guernicamag.com/does-truth-have-a-tone/ in Guernica (2013 Jun 17)

“There’s nothing that I would call ordinary audition about this at all. It doesn’t really.. It’s a curious thing that will be very difficult to explain. Somebody asked me, “Was it as though your hand was moving?” No. I wrote perfectly voluntarily in response to…I call it a voice, but “a voice” has sounds… or sounds as though it has something to do with hearing. And I didn’t hear anything. I think it’s the sort of hearing that you can’t really describe. It doesn’t have anything to do with ears, or waves hitting a drum or anything on that order. I don’t really know, I think maybe I’m using the wrong word when I say “hear.” I sort of recognized it, it was very rapid, I could even…. if I didn’t catch a phrase, I could sort of say, “Would you mind doing that again?””

Helen Schucman (1909–1981) Clinical Psychologist

Helen Schucman (1976), in interview by David Hammond August 1976 in Belvedere, California. Quoted in: The Voice: A Historical Moment with Helen https://acim.org/Scribing/the_voice.html at acim.org. Accessed May 21, 2014. Also online ar merelyacim.wikispaces.com http://merelyacim.wikispaces.com/An+interview+with+Helen+Schucman.
In answer of question: "Regarding the voice you heard in the scribing A Course in Miracles, did it come from outside or from within?"

“They did not put much value on my capacities, which were admittedly few, but genuine. I read everything, I wrote constantly, and I had boyfriends by the barrelful. “Why don’t you do the assigned reading?” they’d ask. “Why don’t you write your papers instead of whatever you’re writing—what is that, a short story?” “Why don’t you expend as much energy on your schoolwork as you do on your boyfriends?” By my senior year I didn’t even bother with excuses, let alone explanations. “Where is your term paper?” asked my history teacher. “I didn’t write it. I have nothing to say on that topic.” “You could have picked another topic.””

Susanna Kaysen book Girl, Interrupted

“I have nothing to say on any historical topic.”
Girl, Interrupted (1994)

“The voice tends to come first and then everything else follows. It’s never worked for me to think, here’s a character and they should have this kind of voice, let me try to force that. If I can’t tap into a character’s voice, I can’t really write the character…”

Susan Choi (1969) American novelist

On feeling the voice of a character in “Trust, Serendipity, and Consent: An Interview with Trust Exercise Author Susan Choi” https://www.bookish.com/articles/interview-susan-choi-trust-exercise/ in Bookish (2019 Apr 16)

“I didn’t start writing to tell happy, little stories. I started writing to make some impact on the world in which I live. If you don’t want to say anything about sexual assault, that’s your business, but I want to say something about it. I think it is absolutely and unequivocally wrong. We have no right because we are in the military to rape fellow soldiers who just happen to be females. A lot of victims are male as well. In the Army I was in, the life of the person next to you was as valuable as your own. You would never do anything to hurt your comrade. Your life depended on him, and in the case of Iraq, those gentlemen’s lives depended on the women they were raping. It’s horrifying.”

Charles Fuller (1939–2022) American playwright

On writing about a female sexual assault victim serving in the military in his play One Night in “Charles Fuller Discusses ‘One Night’” https://catf.org/charles-fuller-discusses-one-night/ in Contemporary American Theater Festival (2014 Jun 1)

“I will write things, he was thinking. I will write something meaningful and wonderful someday. I can do that. And I'll dedicate it to you because you're the first person who ever made me think I could.”

Anne Rice The Wolf Gift

Source: The Wolf Gift

“I wish I could write well enough to write about aircraft. Faulkner did it very well in Pylon but you cannot do something someone else has done though you might have done it if they hadn't.”

Ernest Hemingway (1899–1961) American author and journalist

Letter (3 July 1956); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

“The thing about writing in America—and I just recently understood this—is that writers in America have an arc. You enter writing as a career, you expect to be successful, and really it’s the wrong thing. It’s not a profession. A professional writer is a joke. You write because you can’t do anything else, and then you have another job. I’m always telling my students go to law school or become a doctor, do something, and then write. First of all you should have something to write about, and you only have something to write about if you do something. If you just sit there, and you’re a writer, you’re bound to write crap. A lot of American writing is crap. And a lot of American writers are professionals. Writing is not a profession. It’s a calling. It’s almost holy…”

Jamaica Kincaid (1949) Antiguan-American novelist, essayist, gardener, and gardening writer

On her views of writing in “Jamaica Kincaid: Does Truth Have a Tone?” https://www.guernicamag.com/does-truth-have-a-tone/ in Guernica (2013 Jun 17)

“I think whenever you write something you want people to like it. The best way to do that, usually, is to write what you think is good. That’s basically what everyone tries to do… just to write what they think is good. Part of that is staying true to the characters and the world (which makes it a kids show by it’s design)… and part of that is introducing deeper concepts that we, as writers, are curious about exploring”

Patrick McHale (artist) (1983) writer, storyboard artist, animator, filmmaker

which makes it more interesting for adults
Interview with Pat McHale (Adventure Time, Over the Garden Wall writer) https://crackplot.com/2015/06/13/interview-with-pat-mchale-adventure-time-over-the-garden-wall-writer/ (June 13, 2015)

“I’m sure you’ve run into people who’ve said, “If I just had the time, I could write a book.” Everybody thinks they can write a book. And everybody’s life story could be the subject of a book — I don’t care who they are. It depends how you approach it. But writing itself, either you have it or you don’t have it. -->”

Taylor Caldwell (1900–1985) Novelist

1970s-, The Captains, the Kings, and Taylor Caldwell (1978)

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Celeste Ng 17

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