Ellen Gilchrist Quotes

My first novel was turned down by half a dozen publishers. And even after having published five or six books, I wasn't making enough money to live on, and was beginning to think I'd have to give up the dream of being a full-time writer.

One of the things I learned from my father, and it did not serve me well at all, was that he was a successful writer, he earned a living. And it was a shock for me to find out that it was actually hard to make a living as a writer.

Rejections are painful, but inevitable. They're every writer's rite of passage.

I cling to the idea that Herman Melville had to work at the end of his career watching ships in a dock, as a shipping agent in New York. Any writer who thinks they should be given patronage because of their gift... you don't have to look too far in history to see that's just not the case.

Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.

I don't think screenwriting is therapeutic. It's actually really, really hard for me. It's not an enjoyable process.

I had spent five years not earning a penny, getting rejected. Thank God I had a husband who was supportive and encouraging. But I still said to myself, 'If the Everleighs doesn't sell, I'm finished with writing forever.' I was going to get an office job.

Let's face it, writing is hell.

Writing is a very strenuous thing - it's like banging your head against a wall. At the end of the day, acting is better, just because nobody ever asked me if I wanted a Pellegrino in the writer's room.

Yeah, writers do hate writing.

To make your life being a writer, it's an auto-slavery ... you are both the slave and the task-master.

Money means I can support my family and still do what I love. Not very many people can say that in this world, and not many writers can say that.

Contrary to what many of you may imagine, a career in letters is not without its drawbacks - chief among them the unpleasant fact that one is frequently called upon to sit down and write.

Most of the writers I know work every day, in obscurity and close to poverty, trying to say one thing well and true. Day in, day out, they labor to find their voice, to learn their trade, to understand nuance and pace. And then, facing a sea of rejections, they hear about something like Barbara Bush’s dog getting a book deal.

I certainly wake up every morning and thank God that I'm not a novelist because the theater is tough, but novel writing is infinitely harder. Especially with the economics of serious fiction being what they are in America.

I decided that the whole idea of what it means to be an artist was that somehow you are ontologically oriented toward poverty : "As an artist, you don't make money." I had to figure out some kind of way to guarantee that I'd be able to continue doing the work that I wanted to do, whether I made money from the work I was doing or not.

I think it's always wrong of writers to make too much of the pains of their labors, because most people have much worse jobs and suffer such indignities and hardships.

It takes an awful lot of time for me to write anything. I have endless drafts, one after another; and I try out 50, 75, or a hundred variations on a single line sometimes. I work on the process of refining low-grade ore. I get maybe a couple of nu ggets of gold out of 50 tons of dirt. It is tough for me. No, I am not inspired.

I feel very rich when I have time to write and very poor when I get a regular paycheck and no time at my real work.

Four specters haunt the Poor - Old Age, Accident, Sickness and Unemployment. We are going to exorcise them. We are going to drive hunger from the hearth. We mean to banish the workhouse from the horizon of every workman in the land.

I had a very high opinion of my father's judgement of things and he said, "You better get a job that pays the bills because a writer doesn't make any money. If possible, get a job that allows you to write in your spare time."

I rail against writers who talk about the loneliness of it all — what do they want, a crowd looking over their typewriters? Or those who talk about having to stare at a blank page — do they want someone to write on it?

I’d recommend learning to accept rejection. Become friends with rejection. Be nice to rejection, because it’s a huge part of being a writer, no matter where you are in your career.

When you're writing a movie or a play and writing isn't going well, which is for me the normal condition - it's an exceptional day when suddenly I've got something and it's going well - you can call the studio or the producer or whoever is waiting for it and say, "I know I said I was going to have it in by the end of the summer.

I am sure it has been done with less, but you should be prepared to write and throw away a million words of finished material. By finished, I mean completed, done, ready to submit, and written as well as you know how at the time you wrote it. You may be ashamed of it later, but that's another story.