Quotes / Most Writers Are Writers

"Alan Wake is about a writer, writing about a writer, who is writing about himself and another fucking writer. It's like if M.C. Escher was a writer, and also a douchebag."

“Write what you know”
This is probably the worst piece of advice ever given. This is why we have to suffer through countless variations of plays, TV shows and movies about the trials and tribulations of making plays, TV shows and movies.

One of my greatest fears is the day I wake up and discover that I am, in fact, writing two dimensional characters who are little more than a fantasy of what I wish I could be. Writing men has always been something of a defence mechanism against this development – and I have a pact with several of my friends that the day I even think about writing a writer as my main character, they’ll come and smash my keyboard.

"A particular lowlight came in the middle of the 1987-88 season when ABC premiered and then instantly cancelled a show called Family Man. On top of its superlatively generic title (a year and a half later CBS debuted a different show with the same one, adding only “The”), Family Man may have represented the nadir of creativity in 1980s Hollywood. Not only was the setup as formulaic as possible (husband, wife, three kids), but the titular father was a television writer."

Abed: I want to tell the story of Jesus from the perspective of a filmmaker exploring the life of Jesus.
Shirley: That sounds... very appealing to filmmakers.

Winsome hookers aside, rom-com leads are often working in writing-driven professions. Sally Albright was an eager journalist, though her career immediately became irrelevant. Meg Ryan surfaced as a journalist again in Sleepless in Seattle, though this time her job was a necessary plot point. In the pre-Internet days, that occupation gave her the tools to do the stalking that Facebook affords us today. Julia Roberts in My Best Friend's Wedding, Jennifer Aniston in Picture Perfect, Drew Barrymore in Never Been Kissed, Kate Hudson in How to Lose a Guy in 10 Days, and Diane Keaton in Something's Gotta Give are all involved in writing pursuits. Sandra Bullock in The Proposal, Ryan in You've Got M@il, and Hugh Grant in Notting Hill all work with books. In a few of these examples, there’s a reporting assignment that propels the plot forward. But largely, these jobs are all arbitrary. Bullock could be an executive at any company in any industry, and The Proposal would be exactly the same. So, is there a secret white paper designating these professions to be pre-approved for rom-com leads? Is there focus group evidence suggesting that a female writer will appeal to the target female audience while remaining non-threatening to the men who may watch? It is hard to tell what these jobs are meant to indicate about the ladies in rom-coms (other than, perhaps, that they’re the creations of vainglorious writers), but the prevalence of a single field has become short hand for the archetype.”

http://tvtropes.org/pmwiki/pmwiki.php/Quotes/MostWritersAreWriters