Emerging Writers Quotes

I don't believe in kicking away ladders. By that, I mean the ladders by which I ascended as a young writer, small magazines that didn't pay anything, and that sort of thing.

'The Paris Review's mandate has been the same for fifty years. First and foremost, this magazine is for writers; the editors' task is to support and celebrate them, especially at the beginning of their careers, but also as they move forward, venturing stories that are creative, risky, new.

Everything important in sci-fi showed up in the magazines first. It's the proving ground for new writers and new ideas.

I think new writers everywhere need opportunities to get published.

Under Todd Haimes' leadership, Roundabout created a black-box theater whose sole mission was to house premieres by writers who are just starting out and have zero name recognition.

There are always interesting, innovative, dynamic stories being written and being published. They're not always being prominently published, but they're being published.

What's the best way to ensure a supply of good books in the future? Support up-and-coming writers now.

If I'm going to do a big film, I'm very choosy about what I do, because I think I want to continue - in fact I'm sure I want to continue - to stay in the realm of independent films with directors and writers who are just emerging with new ideas and a different vision that hasn't really been expressed yet.

Young writers find their first audience in little magazines, and experimental writers find their only audience there.

There are a lot of people of my generation in New Zealand literature, young writers on their first or second books, that I'm just really excited about. There seems to be a big gap between the generation above and us; it seems to be quite radically different in terms of form and approach.

I would love to see young writers come out of college and know there is a possibility to be a novelist.

We have so many talented writers. Companies need to understand that smaller writers also need to be supported.

Way back in 1989, I got lucky with my first published story when it was selected for the Journey Prize anthology. Then I got lucky three more times. It is astounding to see how many writers published in the anthology have gone on to publish great story collections and novels. The anthology is a windfall for both writer and reader.

There are still many writers out in the Bay, extraordinary writers like Gina Valdez, a poet who I just saw in Portland. We have young people like Eduardo Corral, who won the Yale Younger Poets Award. José Antonio Rodriguez, published by Luis Rodriguez. But there are only a few of us who are paid attention to in New York. There are legions behind us who are not.

People are put down in television now, not because they're not qualitative, not because they're not talented - but because there's no room for them, and worse than that, there's nowhere they can find exposure. Their own good talent may die of mourning, just for want of having somebody read what they've written. I don't presume to say how we can best provide platforms for new writers to get read. I don't know. But therein lies the major problem.

Writers aren't born properly labeled so it is hard to know one when one appears.

I would say the next imminent hot writers are often the writers from the decade before you were born.

Myself, I believe that black theatre continues to evolve, and the success of writers like Bola Agbaje and Rachel De-lahay is proof that fresh voices continue to emerge.

Very few writers of distinction in fact were outstanding as undergraduates.